Matthew Cerletty’s paintings encapsulate a cosmopolitan air with their voguish finish and ambivalent sexuality. Presenting a fragmented body, Cerletty’s Untitled trades image for the fetish of gesture, his absent figure reduced to an intimation of style. Rendered as graphic form against an empty slate coloured ground, Cerletty’s hands seem strangely foreign and empirical. Classically positioned, Cerletty sets his study as abstracted intrigue, his opaque white sleeve and purple nail polish convert the representational to formalist balance, constructing the sublime through the simplicity of casual expression.

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