Seattle Art Museum Kehinde Wiley: Feb – May 2016

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I was looking forward to this show. I had been impressed with Wiley’s work at both SFMOMA and the SAM. One reason is that I’ve studied and created geometric designs and mandalas since the 1970’s. I worked with them in a variety of media including writing software.

As viewers of this site can tell, I’ve been lightboxing photos in a crosshatching style. Wiley copies photos in acrylics and adds backgrounds from a range of geometric traditions, including William Morris of all odd influences.

link!

another link!

So wow, two of my favorite things in one artist. Now for the disappointing parts of the show: I’m not a big fan of the stained glass; I walked right through it and I was less impressed with the sculpture (except the one in this post).

After a while the programmatic nature of his process got a little old for me. These works are essentially collages rendered in paint. The painting from the series Sri Lanka “THE WHITE SLAVE, 2010” revived my interest check it out here:

second image in slideshow

The look on the face of the washerwoman was worth the trip in one insignificant part of a large painting.

I still like Wiley’s work and I look forward to a day when he incorporates depth of field from photos in it. This would introduce a sense of physical space. Wiley’s current program exists in the world of ULTRA FLAT. Now that he has mined that to the max, let’s see more physical depth. I think it would add a lot to the final statement.

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