Review of “Vivid” – Times of London
MORE American abstractionists, along with their British equivalents, in Vivid at the Richard Salmon Gallery. It is correct, by and large, to call their painting abstract, but they are by no means dogmatic on the subject: if some concrete reference or even (perish the thought) an apparently explicit title will help, then they are game.
Artforum: Frances Richard on Jonathan Feldschuh
Jonathan Feldschuh
CYNTHIA BROAN GALLERY
In “Little Corner of the World,” his first solo show in New York, Jonathan Feldschuh exhibited twelve canvases, varying in size but consistent in their mixture of cartoonish sci-fi and romantic verve. A product of the Harvard physics department, Feldschuh has a nice feel for the fine line between microscopic and cosmic conceptions of space and good instincts for the salutary effect of elegance on silliness (and vice versa).
Max Henry: catalog essay for “Little Corner of the World”
Little Corner of the World
These are strange paintings. They spell mayhem and decay.
Looking like cell and tissue lab specimens suspended in formaldehyde, one is taken aback by the intensity found in these abstract forms. Their loose cartoon-like shapes are drawn with anatomical precision although they are the by-products of a random process.
Using an expressionist painter’s drip and pour technique, the artist Jonathan Feldschuh layers his canvases with a thick build-up of several clear polymer coats which magnify colorful loopy forms floating beneath the transparent viscous surface. Quite heavy and industrial in appearance, these canvases, (stretched over wood panels), show details of organic forms which have been enlarged or reduced thousands of times in scale. With contrary titles like “Little Corner of the World” and “Wash It Till You Get It Clean”, this series has a humorous undercurrent.
