In this exhibition, the New Zealand-born New York artist invites frantic art audiences to screech on the brakes, or at least slow down. Max Gimblett's dense, contemplative works requite a lot of time and attention to absorb and understand. While that may be a lot to ask of the town's over-stimulated art lovers, the rewards are considerable.
Avatar is a shaped acrylic and polyurethane painting consisting of four interconnecting circles and a quietly inscribed geometric rosette design in lemon-gold. The largely honey-colored pristine surface, measuring 25 inches across, is a kind of mirror. Gimblett's works reflect the mind as well as the body. In the double-paneled The Honey of Mnemosyne, for instance, the highly reflective gold leaf surface on the left panel is the sensual counterpoint to the cerebral matte black paint markings on the abutting panel.
Other works, such as The Bridge, also demonstrate the artist's balance of mind and body. Here, eloquent black splashes traverse a shining surface of layered acrylic polymer and polyurethane. The work seems emblematic of the relationship between thought and action.
Max Gimblett, Apr. 22-May 22, 1999, at Margaret Thatcher Projects, 529 W. 20th St. New York, N.Y. 10011.