new-york

Tod Wizon

Nicholas Robinson Gallery

Rarely has a series been titled more aptly than Tod Wizon’s “Little Darknesses,” 1996. The acrylic panel paintings that make up this suite of fourteen nocturnes are a uniform eleven by eight inches and lean on a somber palette of dense blues, punctuated by waves of gray and shafts of radiant yellow. Essentially abstract but strongly suggestive of oceanic vistas and drama on a cosmic scale, they were here secreted in the gallery’s basement, as if they had been stewing there for years in their own doomy, romantic juice. Arranged in a numbered sequence loosely suggestive of narrative flow, these physically modest works can be imagined as illustrations of Genesis or Revelations, documenting epic mythical events in an unassuming style.

The New York–based Wizon has exhibited extensively since the late 1970s, but much less often over the past ten years. Beginning as a landscape painter, he moved

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