New York

Trevor Winkfield

Tibor De Nagy Gallery

If there’s something impersonal about the blocky but borderline-hallucinatory realm of a Trevor Winkfield painting, this quality can also be seen as a kind of childlike insouciance, finally piercing in its intimacy. Austere and playful, wicked and sacred, antic and serene in equal measure, Winkfield’s meticulously delineated culinary, musical, mythic, and domestic motifs come together into odd and gracious apparitions on the canvas.

Winkfield, a master of proportion, hints at motion as would the maker of an ancient hieroglyphic frieze: via a slight, studied torquing of the work’s overall symmetries. The “female” sign dominating The Garden, 2003, for instance, is situated to the left of center, but our eye is gently provoked into repositioning it—the three red dots at its neck emphasize a slightly queasy feeling of motion. This abstract creature’s head, outlined by a leaf or acorn motif that

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