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The Metropolis and the Intricate Grid

Daybreak

The Metropolis and the Intricate Grid by Carole Curtis and Gregg Welz. On display October 8 - November 15, 2015

In a Carole Curtis painting, you are there—very small—on the sidewalk, lost in the city’s shapes and shadows. Evening light, morning light or moonlight have been snagged for you in beams and twirling trapezoids by these obelisks, towers, and corners. Facades ladder up to the heavens, giving you a direct route. These buildings are magnificent beings that speak to each other in a language of reflected light. Curtis’s forms might remind you of Charles Sheeler’s paintings or the sense of urban space in Hugh Ferriss’s architectural renderings, but she walks her own pure lines of abstraction.

Gregg Welz’s cut and folded paper works are rich in nuance. Repeated patterns lift off the background creating shadows that echo the elements of architecture in nature. His forms could be meadows, rivers of white, forest shadows, or flocks of birds. The shapes and shadows of geometric forms become luxurious texture, and viewers experience his paper surfaces the way they would experience the ocean or the air or a tree full of leaves. These compositions are as calming as water and as intricate as a fugue by Bach.

Backgrounds in graphic design inform the work of both of these artists. There is clarity here in these careful compositions, but viewers will also be introduced to new worlds; in each one, geometry has its own poetics.

The Metropolis and the Intricate Grid