los-angeles

View of “Frank Bowling,” 2015. From left: Schlesingerblue, 1968; Dragon Overhand for Verity, 2013; Mel Edwards Decides, 1968; Mother’s House Dot Dot Com, 1966–99.

Frank Bowling

Marc Selwyn Fine Art

View of “Frank Bowling,” 2015. From left: Schlesingerblue, 1968; Dragon Overhand for Verity, 2013; Mel Edwards Decides, 1968; Mother’s House Dot Dot Com, 1966–99.

“Cooking,” he calls it, but there are other words that come to mind when describing Frank Bowling’s restless, wildly inventive painting practice: spilling, smearing, dripping, brushing, raking, flicking, sticking, foaming, cutting, stitching, and pasting, to name a few. And waiting. Bowling often works on the floor, flooding canvases with vivid washes of acrylic and oil, letting the paints pool, settle, and dry before staining them again. He applies thick, gestural curls of impasto that sometimes take weeks to harden into crunchy corrugated surfaces. He embeds tiny objects and pigment into thick laminar flows of pearlescent foam and wax. Within these frozen streams, delicate veins of color catch the eye and hold it. The expansive paintings that emerge from this diverse, improvisatory repertoire of techniques demand to be seen in person. They are huge, mercurial things—numinous

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