Three Distinct Artists United by Bold, Enthusiastic Styles
Turner Carroll Gallery welcomes into their space this month three new artists, with styles ranging from minimalist to maximalist and abstract to representational. Willy Bo Richardson, Fausto Fernandez, and Jamie Brunson share a certain spirited sensibility, but their methods of representation vary so dramatically that any one-line comparison between their practices wouldn’t suffice.
Using watercolors and oil, Richardson paints vertical lines with uneven brushstrokes, rendered precisly so that each stroke reads as intentional. In his works on both canvas and paper the oil paint seems to flow quite smoothly—showing no signs of being clogged by the teethy texture canvas often offers. Richardson’s naming schema seems especially Kandinsky-esque in form, as he frequently references music, and the synesthetic associations between sight and sound. In this way, Richardson’s dedication to verticality and use of vibrant colors seem especially significant in a sonic sense.
Fernandez’s work gravitates more towards the chaotic or mechanistic than to the geometric or meditative. With Cylinders in Grayscale Over White (2011), flowers blooming around the edges of the frame are as significant to the overall meaning of the work as industrial parts like levers and handles. With irony, Fernandez refers to an industrial, collage-styled piece as Broken Down and Simplified (2014). A swirling cosmos of acrylic, spray paint, and pastel conspire to form an image that is anything but broken down, and far from simplified. Faceless Self Portrait (2014) stands out from the other works as more representational, less abstract, and with a rich background print that recalls newspapers and architectural blueprints—it’s not simple, but there is less competing imagery.
Applying pleasant colors—seafoam green, toothpaste blue, faded pink—to simple shapes, Brunson’s work is quite soothing to the eye. If she did not reference elements of nature so directly in each title—Reflection (2013), Petal Yantra (2009)—viewers might not recognize her floral patterns and aquatic reflections. By flattening each naturally occurring subject and allowing two to three colors to seep into the frame, Brunson asserts her minimalist style.
With this varied selection of visual styles and individualized practices, Turner Carroll Gallery shows a commitment to finding unique forms of expression and representing a well-rounded mix of contemporary artists.