Sunday, September 27, 2009

TERRY WINTERS @ IMMA

Signal to Noise is the name IMMA's curators have chosen for their recent retrospective of the painters last ten years. Held in the same wing of the museum that has over the last few years hosted large retrospectives for Juan Úsle and Howard Hodgkin and, like them, Winters has a canny knack for sublimating imagery into his large, dense compositions. According to the press release: "The 40 paintings and drawings explore the cerebral spaces of information technology and issues of cognition and narration as they relate to abstract painting." The exhibition barely makes a strong case for its premise, as shapes, figures, motifs and patterns are reintroduced remodelled, rearticulated and eventually dismantled through the painters brash and probing brushwork.

Not that it starts that promisingly, the first paintings we see are of more modest size and their tentative games with alternating narration of positive and negative space, seems like a big commotion over not much. The ideas of space articulated just aren't interesting enough to sustain the bombastic streaks of paint that criss-cross the canvases.

But then something changes, we move into the smaller rooms, where monochrome prints display a nice feel for placement, a certain crude brashness which is effective in ways it doesn't seem to be in paint. the rough scribble that he uses in place of hatching has a childlike charm and a crooked violence. The sheer number of them on the wall forces the curators point about information systems in overload but its obviousness is effective in a way that echos the prints themselves.



Terry Winters - In Blue

Suddenly the large canvases reappear, but this time, in such wild colour that they seem garish and overwhelming even without being rammed together from floor to ceiling. Mainly composed of large floating grids of rose-like configurations of space and spirograph designs. In the larger pieces the variations of the rose patterns bursts into three dimensions as they push and pull against each other and the picture plane, swirling around each other.

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