In search of rational,
significant compositions, early on in his career
inspired by the floor plans and architectural features of rooms from his
everyday life. As he explains
, “It was an attempt to attach a subject matter
to abstract shapes.” Delineating doorways and windows, he eventually translated
the sketches onto canvas and created solid forms from the rooms’ interiors,
distinguishing negative space. When he ran out of meaningful rooms from his
life, he turned to architectural theory and practices; in moving his
compositions away from specific spaces, he began to define space, instead.
New Haven’s Fred.Giampietro Gallery
is showing Voisine’s recent
, his signature, primarily
black, hard-edged paintings, which are framed by alternating bands of color.
Experimenting with overlapping forms, and matte and shiny paint, Voisine
visually challenges viewers to decipher optical ambiguities surrounding figure and
. In this newest series,
using primarily horizontal framing techniques, Voisine’s geometrically sound
black voids are punctured by wedges of white, and sandwiched between stripes of
color, from bright aqua to deep purple.
“I don’t think my imagery
became iconic until I began working with the predominantly black forms, which
made a more immediate graphic impression,” Voisine said, explaining his
attraction to black forms. He cites the black paintings of some of the most
as key influences, including
, and particularly the “magnificent gigantic
Still at the Art Institute of Chicago
. Drawing inspiration from such prominent forebears, Voisine has
developed a strong, cohesive body of work that adheres to a classical
understanding of abstract art, free from the signifiers of a certain time
period or a negative tone that black paintings often attract.
“Don Voisine: New Work” is
on view at Fred.Giampietro Gallery, New Haven, Connecticut, Jan. 10th–Mar. 1st,