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Pat Pendleton, Curious Evidence A Three-Decade Survey

Emily Dickinson’s line, “the nearest dream recedes” might come to mind as a viewer moves through the high white spaces of the Artspace gallery. Wistful poetics mixed with mindful narrative seem thematic connotations to the mixed media work on view.

Drew W. Eaton, Anita Johnson, and Lawrence Kinneyon view in the current Art Dialogue exhibit

Eaton’s wall-hanging sculpture/paintings are like three-dimensional display models of exotic built terrain. Cities of the ancient past, futuristic cities. They are relief constructions of cardboard in sometimes regular geometrical shapes and forms—triangles and rectangles and circles—sometimes irregular, in three dimensions and two, and various surface textures--from smooth to corrugated and stages in-between—and paint application and color effects, subtly reminiscent in the painting latter aspect of art historical models. For example, “Circles Pushing on High,” in an ethereal mix of separate sunny hues, reminiscent of the work of impressionists the likes of Monet, Renoir, and Vuillard; and “Nebulae,” in expressionist shades of dark blue, reminiscent of Van Gogh’s “Starry Night”; and “Over, Under, Sideways, and Down,” in a kind of slapdash coloristic application reminiscent of Jasper Johns.

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