New York

Beatrice Caracciolo

Charles Cowles Gallery

There were three kinds of works in Beatrice Caracciolo’s recent exhibition: exquisitely animated abstract expressionist drawings; others that look more like landscapes (and which introduce art-historically familiar material in the form of allusions to Chinese landscape and Japanese calligraphy), and unexpectedly bold suspended or freestanding sculptures comprised of zinc sheets mounted on wooden substructures.

The excited lines of the drawings—small and intimate compared to the immense planar sculptures—and the textures of the sculptures—gray mottled with luminous streaks—both signal Caracciolo’s preoccupation with touch and surface. The resolutely abstract geometric sculptures form whole environments, yet their surfaces have the same tactile quality as the drawings. This is ingrained in the very fabric of the zinc rather than “applied” to its surface, but the peculiar mixture of raw and

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