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at Barry Whistler Gallery through July 13
by Todd Camplin
Tragic, sublime beauty confronts you in Kirsten Macy's new work at Barry Whistler
Gallery. In stark contrast to the festive, yet muted collaboration of Sunny Sliger
and Marianne Newson. Typically, the colors from all these artists are glaringly
bright, but a kind of monumental shift has occurred in Macy's work that
has clearly influenced everyone involved in this exhibition.
|I say shift, but this is only in the bright cheerful nature she once pursued, because these
|Because of the toned down pigments, I can’t help but think of Robert Ryman and his white
paintings on brown canvas. However, Macy commands a great deal of control which seems
to insist each mark must have absolute planning to be executed. Happy accidents might
have occurred in the planning stages, but by the time these paintings were produced those
moments have past. You must admire that level of craftsmanship in a piece that uses both
organic and geometric elements.
Two groupings of small paintings had no eye popping explosions. Yet, these works also seemed
to fit as moments before or after these event paintings. Like Proust eating a cookie, you get
some 3000 pages of memories that happen in a moment; this exhibition shows Macy reliving,
imagining, and remembering an event that occurred in a second, but carries on and on
in the mind.