Yesterday I was in Chelsea where I saw Gordon Moore’s sublime large-scale paintings and photo emulsion drawings at Betty Cuningham. Juxtaposing dimensional space with drawn and painted shapes, Moore’s reductive paintings reflect his interest in the illusions perpetrated by photography and linear perspective. Within a single canvas he combines three or more distinct types of space, using flat shapes of color and drawn lines, some of which are deliberately masked out, others are more randomly intuitive. For Moore, who describes himself as an empiricist, the paintings reveal an abstract but very tangible world.
In the current issue of The Brooklyn Rail, Joan Waltemath writes that Moore’s paintings feel “in tune with the present moment where uncertainty and restraint fill the lives of most Americans,” and she’s right. I loved this show.
Exchanging studio visits with Joan Waltemath
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