Extended: Making Sense of the Universe: Paintings by Staten Island Artist, Timothy Mutzel
This exhibit has been extended. There is an opening reception on Thursday, September 7th from 6-8PM and there will be Saturday visiting hours from 1-6PM.
August 3 to September 10, 2006, Timothy Mutzel showed several large, exquisitely crafted oil paintings in the dramatic well-lit CVB space.
Mutzel’s sensitive, offbeat, and wry ruminations on the nature of existence result in paintings that are visual and intellectual oxymorons. He makes manifest the messiness of life in his areas of controlled chaos rendered with a precise hand in primary colors and black and white. These stretch, bend, and bulge as they careen across the sublime vastness of the void, here represented as fields of exquisitely blended secondary colors. There is dynamic tension between the multi- and single-color areas, between figure and ground. Mutzel uses black to create an organizational grid, like Mondrian, that is also an organic grid, like Pollock (albeit with a zany touch) and as a compositional device, like Roy Litchentsein. I saw stylistic influences from pop art, cartoon art, computer graphics, color field and even Rosenquist’s representation of Mylar in The Hitchhiker Looks Out at the Speed of Light.
Check Timothy Mutzel's website at http://www.mutzel.org
By Mary Bullock
ReplyDeleteAugust 3 to September 10, 2006, Timothy Mutzel showed several large, exquisitely crafted oil paintings in the dramatic well-lit CVB space.
Mutzel’s sensitive, offbeat, and wry ruminations on the nature of existence result in paintings that are visual and intellectual oxymorons. He makes manifest the messiness of life in his areas of controlled chaos rendered with a precise hand in primary colors and black and white. These stretch, bend, and bulge as they careen across the sublime vastness of the void, here represented as fields of exquisitely blended secondary colors. There is dynamic tension between the multi- and single-color areas, between figure and ground. Mutzel uses black to create an organizational grid, like Mondrian, that is also an organic grid, like Pollock (albeit with a zany touch) and as a compositional device, like Roy Litchentsein. I saw stylistic influences from pop art, cartoon art, computer graphics, color field and even Rosenquist’s representation of Mylar in The Hitchhiker Looks Out at the Speed of Light.
Check Timothy Mutzel's website at http://www.mutzel.org