new-york

Tomory Dodge

CRG Gallery

When I think of the Los Angeles–based artist Tomory Dodge, a specific painting comes to mind: Weekend, 2005. Titled after Jean-Luc Godard’s 1967 film, the canvas depicts a red drum kit amid a thicket of loose yet perfectly restrained gestural marks suggestive of a chaotic, trash-strewn forest. Weekend was featured in Dodge’s first solo show in New York at CRG in 2006 and encapsulates the narrative themes he developed between 2002 and 2007 in works that portrayed haphazard disasters, debris, and the type of destitute terrain found just off the highway. In the six new paintings that made up his second solo exhibition at the gallery, Dodge explores entirely different types of explosions and catastrophes, moving closer to abstraction and away from the precarious landscapes and wastelands that defined his earlier work.

Like their predecessors, Dodge’s most recent canvases are composed of oddly

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