Artist
Davis back from ‘exile’ with a celebration of shape
by
Mary Voelz Chandler
September
13, 2002
Stardom,
solitude, return: It's a frequent theme in contemporary life, as the media
machine can burn bright, then retreat, then many years later again shine
the high beams on an artist.
And
so it is Ronald Davis' turn. It's not that Davis ever really went away;
but the player in the art world of 1960s California left the stage at
some point, settling in an isolated outpost in northern New Mexico. Those
who knew his work from the old days, when he worked in materials including
resin and explored the arena of mathematics and perception, will recognize
the hand at work; for everyone else, it's a surprise and a feast.
That's
because he's back, in a way, with a show of new work opening today in
the Victoria H. Myhren Gallery in the School of Art and Art History at
the University of Denver.
And
it is as if this space - an oddity with its long, seven-sided configuration
- were made for Davis' work, which through color, line, dimension and
form pushes the limit on how we see a piece of art. It is hard-edge abstraction
that moves beyond just one edge, with three-dimensional objects that test
how colors work together, push apart and fool the eye.
Credit
here goes to the show's curator, Gwen Chanzit, senior lecturer in modern
art and museum studies at DU, as well as a curator in the Denver Art Museum's
modern and contemporary department.
In
one of those chance happenings that fuel the art world, Chanzit met Davis
last March during a symposium in Taos examining the work and life of Agnes
Martin. On a trip to his studio (several trips, actually), Chanzit saw
the potential in bringing Davis' work to DU and Denver.
This
exhibition marks not only the beginning of the $250,000 endowment funded
by Victoria and Trygve Myhren for the gallery, but also the remaking of
the gallery lobby, thanks to a separate challenge gift by the couple of
$50,000. The lobby is cleaned up and opened up, the gallery in good shape. |
Yet
it's what's inside that really counts, and that is a selection of digital
images by Davis, as well as some two dozen wall pieces made of expanded
PVC cut into squares, triangles and other geometric shapes.
Davis
then assembles them, and through the magic of paint and various textural
surfaces, creates shapes that confound and confuse (and amuse).
The
long, somewhat "bent" shapes he calls hinges, for example, seem to expand
and contract on the wall. In some cases, a color can seem to create an
indentation; in others, that is achieved by an actual crease or cut. Chanzit
has given these hinges, wings and other constructions room to breathe.
It
is, in short, a test for mind and eye, where Davis becomes the master
of illusion in strikingly solid work.
Mary Voelz Chandler is the art and architecture critic. Chandlerm@RockyMountainNews.com
or (303) 892-2677.
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