In his recent book, Hotel Theory (2007), Wayne Koestenbaum writes, “Genres can be guests within other genres. A genre is a hotel in which other genres stay for the night.” Evidently in agreement with this observation, painter David Coyle has dedicated himself to interrupting the drive toward interpretive closure by hopping between, juxtaposing, and layering visual signifiers of genre. In his second solo exhibition at the now defunct 40000, Coyle demonstrated his dedication to combinatory experiment by marshaling elements of fantasy illustration, gestural abstraction, geometric composition, cartooning, portraiture, and text.
Coyle’s previous outings have been hampered by a tendency to allow this eclectic methodology to drift into technical showmanship; he has often devoted too much attention to the tools of his trade and not enough to his subjects. His recent paintings, however (a dozen new
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