los-angeles

Tomory Dodge

ACME.

Mostly land- and cityscapes, and unabashedly gestural, the oil paintings (all works 2004) in Tomory Dodge’s Los Angeles debut are among the most convincing of current arguments for the vitality of painterly painting, revealing a sensitivity to the medium impressive in such a young artist. Dodge’s stylistic nods are varied, including David Park, Philip Guston, Joan Mitchell, Frank Auerbach, Peter Doig, and even Gerhard Richter, as well as other painters who have explored the use of gesture in the service of representation. His work does not seem caught up in neo-expressionist tendencies nor in the abundance of cutely exuberant cartooning in contemporary painting; rather, it feels born of a deep curiosity about what happens when straight-up painterly and representational concerns commingle.

Laid on in stiff, deliberate dashes and fluid, cavalier slashes, Dodge’s compositions appear to be the

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