Emil Corsillo

Green Street Gallery

The seven large enamel-on-wood-panel paintings in Boston-based artist Emil Corsillo’s debut solo exhibition picture a quasi-abstract apocalyptic urban landscape devoid of living things. Rendered using superimposed source photographs of construction and demolition sites, the protagonists of these hard-edged images are I-beam frame works, chain-link fences, concrete barriers, and caution stripes.

Although Corsillo claims a formal allegiance to Russian Constructivism, the planar austerity and bold machismo of his fragmented architectural forms more strongly recall the pre–World War I Vorticist paintings of Wyndham Lewis, in which buildings—arranged as precisely contoured verticals and diagonals—appear ready to collapse. And while much of the work is derived from the physical upheaval of such contemporary local events as Boston’s “Big Dig” (an ambitious program of highway, bridge, and tunnel

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