AMY FELDMAN

Grey Area

Feldman composes striking images by employing a limited number of pictorial elements on the surface of
her
paintings.
Simple yet acute gestures coupled with basic formal devices dovetail to create images that
have a strong visual impact on the viewer.
Feldman seeks a visual clarity that is at once profound and
undercut by humor.
This exhibition is comprise
d of four large
-
sized paintings rendered in light and dark variations of gray.
In
their grand scale, the forms engulf the viewer: painting flirts with sculpture, entering the viewer's physical
space.
Feldman's work is also about picture making, as cartoo
ned abstractions materialize on the surface
and the integrity of the edge is questioned and repurposed.
In her paintings, Feldman's soft and drippy gray
lines masquerade as hard edges, creating shapes and signs that melt in and out of legibility.
Figure/g
round
relationships are complicated, as dark selects light
and vice versa.
Feldman's application of paint to surface appears quick and direct
--
blunt but considered.
There is an
inherent anxiety in her paintings that complements and contradicts the eas
e with which her tough yet
sensitive forms appear to be created.
Her
punctuated, icon
-
like abstractions are derived from her drawing practice, and the same seemingly
casual attitude is translated from drawing to painting.
The images in her drawings, p
racticed and rehearsed
many times over, are studied provocations, decisive and spontaneous
--
fortuitous indicators for her
paintings.
Feldman reaches a desired balance in her work.
Awkward yet poised, her paintings evoke a
toxic
-
classicism, stunning wit
h their purity and imperfection.
Stephen Westfall writes in his essay "Tough Love", completed for Feldman's catalogue produced for this
exhibition:
There's a visual hit to our first encounter with an Amy Feldman painting, or better, a group of them.
Th
ey telegraph their overall image structures across space like bold signage. Greenberg would have
approved. Or, who knows? He might have found their traceries of the grotesque a bit icky: ok for
Pollock, Louis, and Frankenthaler, maybe, but Feldman may just
be a bit too cartoonal. For
Greenberg, that meant Pop, "easy stuff" in his mind. But Feldman's stretched and pulled geometries
hint at a darkness that her stark and high contrast figure/ground relationships don't dispel...her
paintings know a lot, they ha
ve a lot of languages in them, and they let us know what they know with
startling economy of means and a necessary theatrical grandeur.

BLACKSTON Gallery

AMY FELDMAN

Dark Selects

June 14th through July 27th, 2012