Kind of Blue

It would have been easy to get completely absorbed in the Out of the Flat Files II exhibit at Triple Base (I could look at Serena Cole’s stuff all day) and end up neglecting the back room. There I found a selection of Bryson Gill’s work, forming a kind of chilly aesthetic equator on the walls of the tiny office space.
Gill has taken familiar classical works, chopped them up, and paired them down to essentials. Volume is emphasized. Faces and limbs have the cold solidity of stone. Necks and orbits are buried in deep shadow. It’s a little like seeing a Vermeer glimpsed through a clouded window pane, obscured but also changed by the refraction and uniform color of the film.

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