Jill Moser - Mary, Mary, 2011Painting - acrylic and oil on canvas - 70 x 70 inches
My repost art review from Houston in September 2011
Wade Wilson Art is showing some heroically epic paintings. I enjoy large abstract paintings like those of the 1950’s Abstract Expressionist Pollack or Rothko, so I really enjoyed this show of artists Tom Berg, Lucinda Cobley, Jill Moser, Peter Sacks, Mark Williams, and Zachariah Riek. Abstract art somehow seem to works better on a larger scale. I was already quite fond of Jill Moser and Mark Williams before this show, but Lucinda Cobley and representational odd man out Tom Berg caught my eye. I was already quite fond of Jill Moser and Mark Williams before this show, but Lucinda Cobley and representational odd man out Tom Berg caught my eye.
Jill Moser is a superstar artist extraordinaire. She works and reworks her surface to leave hints of paintings left from the paint-and-wipe process. The works look like abstract calligraphy trying to convey an ancient message, but which we are unable to decipher. Like the philosopher Wittgenstein, Moser has a personal language that translates in every expressive mark she makes.
I am familiar with Mark Williams’ work because I have seen a few shows of his work at a Dallas gallery. I think Williams’ art finally converted me to a minimalist lover. I had been on the fence for years debating the beauty and power behind a few lines and shapes of color, but something clicked in me when I observed Williams’ elegant use of lines. I felt calm and a moment of inspired mediation occurred right there in front of his work. I get goose bumps thinking about it, because not soon after I went to the Rothko Chapel and had that very same felling, only magnified and
reached inside of me. I don’t think this would have happened if I hadn’t seen Williams’ art first.
Lucinda Cobley is an artist I had not seen before, but I am happy to get familiar. I like the stripes and lines on the canvas. The paintings are simple compositions, but incredibly elegant in color and texture. The layers of paint feel thick in places and smoothly brushed in other places. I hear music in these pieces, the colors acts as notes and the white spaces act as rests.
Tom Berg interreges me, not because he was the only representational artist, but because I was transfixed on how minimal this work really was and how similar in composition the work was to Cobley’s work. The chairs break the ground in an odd way that draws you to think the floor is really just a shape and not a floor. The background is gridded out in such a way that you could imagine that the so called wall was just a shape as well. This just leaves the chairs, which are geometric and brake up the spaces, like Williams’ lines break up his paintings. I thought this work by Berg was representational, but now I am beginning to wonder about my assumptions.
Peter Sacks and Zachariah Riek also round out the show with their own abstractions in large scale. Wade Wilson Art’s exhibition of Large-Scale: The Painting Show will run until September 30. Go see these massive paintings and if your luck you might have a moment that changes the way you think about art.
For more images of the show go to ModernHouston.net