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at Talley Dunn Gallery through april 15
|From the start, I was mystified by Ted Kincaid’s images. I remember first encountering his clouds at
Barry Whistler Gallery many years ago. I had just moved to Dallas, Texas from Kentucky and I was
struck by the big skies, dramatic clouds, and the speed of city life. Here was an artist that summed
up my experience. His clear use of digital processes connects to the generation that grew up with
pixilation, and Kincaid isn’t pulling out nostalgic images from 80’s video games, but he is
originating his imagery.
|I have enjoyed his cloud iteration experiments over the years, but he seems to think these works
give the feeling of the cloud being carried even faster off the canvas. Kincaid’s clouds are so
iconic, like Jasper Johns’ targets that these works will cement in our collective minds.
|building the images like a painter might invent a scene. The ships look like vintage photos taken
rom another ship, weathered and aged with time, but these were made just recently. Kinkaid
has reached into the past. It is a little odd to think you can’t find the original trees he uses in
his photos, because they never existed as a single object. So is the tree real, represents Kinkaid’s
idea of a tree, maybe a collage, or is this a photo of an imaginary tree? The questions he poses in
each work are enough to make Plato’s head explode and Rene Magritte giggles with delight.
Kinkaid goes beyond Magritte’s La trahison des images, where Magritte points out that his
painting is an image of a pipe and not a pipe. Kinkaid asks what is real and what is not;
where does reality begin or end.
|will be up until April 15th. A triumph of photography, well at least I think it is photography. I have
seen every solo show he has had in Dallas since 2003, so I can safely say that he is worth following
and getting to know.