Staged to resemble a spacious domestic interior, Martin Boyce’s exhibition “Light Years” expressed a poised interplay between standardized industrial materials and the refinement of high art. Three works that the artist compares to large Color Field landscape paintings (all works Untitled, 2017) anchored the overall installation. To create these, Boyce first applied beige primer to perforated steel panels, then layered on pale washes in rose, aqua, or yellowcolors selected from the German RAL systemyielding streaked and muted pastel fields. The effect is similar to that of the subtle ink-wash paintings of China, particularly the Song-dynasty landscapes of Ma Yuan, noted for his idiosyncratic vision and asymmetrical compositions. Ma would typically position the most significant element of his designa branch, or a flower on a vineoff to one side, leaving the
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