Already a fan of Jon Clary’s stuff, Friends of Painting at Eleanor Harwood allowed me both the opportunity to get lost in some of his new stuff and served as an introduction to Bruce Wilhelm’s work.
Some of Wilhelm’s acrylic paintings actually reminded me of Clary’s wonderful Campfire, which was included in Root Division’s Three Angles show last year. There are the multiple layers, slices of reality that pierce through the painting’s top surface. What begin as droplets of simple patterns and repeating designs in Invited to the Party eventually engulf the visible space in molten surges in Little Bites. The superposition reaches it’s most violent contrast in the collision of planes of Plaid Stab.
The most engrossing stuff though was Wilhelm’s series of looping animated shorts, playing on monitors mounted on the walls of the gallery in wooden frames. Racing through Ocean is a painted horse whose upper half has been sheered off, like the canopy of a car in a Hal Needham flick. Rows of waves slice back and forth: see-saw obstacles at a carnival fairground game. Land features a bent tree springing upward, the ground constantly aswirl with fat brushstrokes of brown and gold. There is the immediate absorption in the subtle variations of the repeating sequences but you could easily burn through an hour marveling at all the variety in each painted frame as it flickers by. If you’ve been lamenting the closing of William Kentridge’s show at SFMOMA, here is your antidote.
Quicktimes are available on the gallery’s site, but you’re going to want to pay a visit to fully appreciate the vivisections in Wilhelm’s painted works and the invasion of nature upon the man-made (and vice versa) in Clary’s latest dreamscapes.