Peter Reginato’s gutsy, boisterous assemblages mate the mediums of sculpture and painting. It would simply be insufficient to describe the components of his collages in steel as colorful. Welded sculptural form becomes the unlikely support for what would anyway be a dense, involved composition were it contained within the politely conventional dimensions of a stretched canvas. Instead, Reginato’s drunken brush sallies forth across arabesques of looping rods, mask-cum-shield punctuated oval forms and organic shapes that migrate in the course of the sculpture from amoeba to a leaf from Matisse to a cartoon animal cutout. Reginato’s wildness – whether of hue or juxtaposition – only temporarily blinds the discerning eye to what are actually thoughtfully rich cocktails of curve and chroma.
