Toronto

Martin Bennett

Clint Roenisch

In a coincidental prelude to “The Geometry of All Four Seasons,” an exhibition of Martin Bennett’s new oil paintings, the doorway of Clint Roenisch Gallery was littered with maple leaves. Suggestive of a loose grid in faded tones of brown, rust, green, and gray, the leaves provided a fortuitous tactile complement to the largest picture on view, Static Image Painting/Brown/Boat/Villa Borghese, 2006–2007. The work features a not-so-scenic nature scene based on a photographic image—taken, as the title makes plain, on the grounds of the famed Roman museum—featuring birds, a man rowing a boat, and a facade of classical architecture in the distance.

But such details become increasingly incidental as one considers the processes to which the source snapshot was subjected. Bennett applied an allover geometric grid, made up of triangular and irregularly shaped motifs, to the picture, then meticulously

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