The eight small paintings in Caleb Considine’s exhibition “Cancelled” might at first have seemed a bit lost in the gallery’s spacious rooms, but they gradually made their presence felt. The generally pale colorsattaining, here and there, a passing luminositylent them a dreamlike pellucidity, but also conveyed a sense of determined and prosaic effort. Considine’s art bespeaks genuine devotion to painterly subtlety: Though his craftsmanship was evident, the work was the opposite of mere technical display and razzle-dazzle.
It also took the viewer a while to understand that the irreducible heterogeneity of Considine’s subject matter was part of its point. Despite providing glimpses of shared thematic concerns, each painting tended to establish its own context. What the works had in common was that they were all based on the artist’s own immediate visual experience: Considine
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