15 Jun 2018
Jill Nathanson: Cadence
Reviewed by David Jacobson
Empirical Empyrean (2017), the title of one of Jill Nathanson's fifteen abstract paintings in "Cadence" at Berry Campbell, says it all. Each painting is built out of discrete, translucent color areas that thicken where they overlap. As they coalesce into fields, juxtapositions of hue prompt the eye to unify the compositions. The color transcends local incident, while the translucency generates an overall glow.
Nathanson paints by lifting and tilting large wood panels to spread regions of poured, thick polymer that she has masked off with tape. Each layer dries slowly, over a day. She sometimes adds small passages in oil, her sole brushstrokes, to anchor and bind the fluid forms.
The shapes, hybrids of straight and ragged edges and quasi-organic forms, elude classification. Their stark radiance is epitomized by Neighboring (2017), in which three vertical forms hovering together are brought into necessary tension by a mere sliver of lavender on the top edge.
|Exhibition||Jill Nathanson: Cadence link|
|Start date||24 May 2018 (54 days ago)|
|End date||30 Jun 2018 (17 days ago)|
|Presenter||Berry Campbell link|
|Venue||530 West 24th Street, New York City, NY, USA map|
|Image||Jill Nathanson, Neighboring, 2017, acrylic and polymers with oil on panel, 44 x 52 inches, courtesy of Berry Campbell|
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