On a mini gallery crawl in Chelsea, topping my list was McKenzie Fine Art, Inc., where I stopped by to see Don Voisine’s show just before the opening. I was disappointed to not be able to take in all the energy of the opening, but there was a great advantage of having the gallery to myself – the calm before the storm. It was electrifying!
Voisine is a notable player in an increasingly visible contingent of artists painting in an abstract, hard-edged geometric style. Neo-geo, minimalism, I’m not sure what the current tag is for this work, but the jargon and semantics hold little interest for me, especially when the work itself is so compelling. I believe the loosely connected group of artists, if one would call it that (more like a Facebook friends' mutual admiration society?), might be clustered around a vision of ‘reductive abstraction’ or something like that. I suppose labels are effective marketing tools, but that's not the point of what’s going on here.
The artist and blogger Joanne Mattera is among the ranks of these painters, and has found a way to use Facebook for good instead of evil. Recently, she asked her Facebook friends who worked in geometric abstraction to send her images of their work featuring rhomboid shapes. Mattera then curated a wildly varied and potent on-line exhibition of these works. A piece by Voisine is included, and the grouping is a great overview that demonstrates the startling variety of approaches and visions within this relatively cohesive bunch of contemporary artists. Introducing the show, “Rhomboid Rhumba,” Mattera writes, “The works in this scroll-down reflect a variety of ideas: tectonic shift, Archimedian displacement, spiritual thinking, a textile sensibility, references to the body, constructivist principles, optical challenge, formal push/pull, and the pure pleasure of geometric abstraction. Materiality, another of my interests, is very much in evidence here as well.” Minus Space is another place to visit to extensively explore work in this vein. (Voisine can be found here too, along with some others worth knowing about like Karen Schifano and Douglas Witmer.)
Voisine’s bold blacks and crisp compositions have enough of the artist’s hand visible, paired with enough sensuality to engage the viewer immediately. The work is hard-edged but with a dry wit instead of being just dry. It says HEY to get your attention, but the conversation immediately gets deeper. The paintings slyly change as you move in front of them, rewarding the patient eye over and over with their idiosyncratic symmetries, subtleties and shifting planes and voids. Voisine’s self-imposed limitations result in a flourishing body of work that feels anything but restrictive and repetitive. These are paintings made to stand up to a lifetime of looking.
I recently saw Voisine’s work at the American Academy of Arts & Letters Invitational exhibition, and had hoped to have a chance to write about it then. Happily, I heard he received a coveted Arts & Letters Purchase Prize, so the work can still be seen at the gallery on Audubon Terrace until June 12th, as well as at McKenzie until June 11th, and I will definitely be making another trip to revisit this show before it closes. Here’s congratulating Don Voisine for doing terrific work and garnering well-deserved recognition for it.
I sometimes make note, at least a mental note, when gallery owners or staff are either exceptionally talented or awful in their dealings with the public, collectors, press, and/or artists. In this case I would like to recognize gallery owner Valerie McKenzie for her friendly and knowledgeable interaction. Her enthusiasm and astute conversation about the work she is representing are superbly refreshing. She sets the bar a little higher for others in the field.
Images from top to bottom, all © Don Voisine, Courtesy McKenzie Fine Art, Inc.
"Pan, 2011 Oil on wood 13 x 24 inches
"Off Register," 2011 Oil on wood 16 x 17 inches,
"N," 2011 Oil on wood 20 x 16 inches
"Otto", 2011 Oil on wood 32 x 60 inches