6/26/2022 03:43:58 am
Two-person exhibits can make for challenging matchmaking - we’ve all noticed pairings that appear to be fine on paper, but don’t actually jell in real space - so the proximity of paintings by Ferdinanda Florence and Wynne Hayakawa comes as a delightful surprise. Florence paints the unnamed suburban architecture of Vallejo “unyielding, still fixtures, firmly rooted in obscure spaces,” with a powerful interest in composition. It’s simple to visualize her quiet, matured-out forms as unrealistic, for all their visually implications; Georgia O’Keefe’s somber paintings of adobes come to mind, as does Edward Hopper. Hayakawa paints trees - the oaks, bay, tan oaks and redwoods of coastal California - as greater than trees, as “the archetypal forest of my fantasy.” If Florence is severely poetic, Hayakawa is luxurious and rich, her bright palette, spotted foliage and gestural branches evocative of Georges Seurat and Gustave Klimt, through comprehensively latest in their variation between abstract mark-making and conjuror representation.
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