Dan Walsh by - Joan Waltemath
In Dan Walshâ€™s current exhibition at Paula Cooper Gallery in Chelsea, large-scale canvases are hung mostly below eye level. In the 1980â€™s in Soho Alan Uglow made it a point to position his paintings below eye level, a move which not only added a sense of gravity to their bearing, but reflected the position of abstract painting at that time as being below the radar. Walsh is not the only painter to respond to Uglowâ€™s influence.
Yet over a number of exhibitions from the mid eighties to the present he has carried the idea further by setting his paintings into a dialogue with the specific architectures in which they hang. Through a vocabulary of borders and bands painted directly on the walls he was able to both amplify and subdue the surrounding architectural elements. Now reduced to a consideration to leave an abundant space above his works, Walshâ€™s sensitivity to his surroundings neutralizes the spectacular ceiling, with itâ€™s I beams and unfinished wood.
Whatâ€™s refreshing about the current exhibition are the stretches and unexpected curves as his parameters broaden and he comes to terms with both his acquired facility and a changing climate. Walsh is still struggling to make a painting; in this body of work as he resolves familiar problems in unfamiliar ways that consequently open up new areas for investigation. Lots of bright colors are set in subtle and complex relationships to one another to create light in the fields underneath them. Itâ€™s an effect that gives rise to the feeling that the point of entry in Walshâ€™s painting is from the inside out, to be found by following the light coming from the luminous field below through to the hand drawn structure on the paintings surface. Read the entire article hereSource:
Dan Walsh at Paula Cooper by Roger Boyce
The main gallery of Paula Cooper's ground-floor Chelsea space resembles a grand museum chamber. This impression was abetted by Dan Walsh's low-slung, monumentally horizontal paintings. Averaging 60 by 90 inches and hung 6 inches from the floor, Walsh's eight recent canvases created a discontinuous polychrome wainscot which briefly recalled the proportional organization of Pompeiian First Style wall painting.
As the viewer approached the paintings, this reading dissipated. In its place shades of geometric minimalists, such as Josef Albers, were summoned. However, Walsh's thin tints, dry primaries, inconstant line and shape take the starch out of formal/minimalist associations. While the grid underlies much of his work, and linear geometry is (irregularly) employed to break up and surround space, there is a notable absence of essentialist asceticism in his approach to arithmetical abstraction. As in the case of Mary Heilmann, who uses purposefully careless geometry, Walsh wants to make serious painting--and have fun.
These new paintings fall into two broad compositional categories. In Classique and True Blues, the painter delineates recumbent rectangular shapes and sets them against darker grounds. Read the entire article hereSource: