A Cry in the Wilderness: Fred Valentine at Studio 10
Fred Valentine: Toward Grandfather Mountain at Studio10
February 6 to March 8, 2015
56 Bogart Streeet, between Harrison Place and Grattan Street
Buskwick, (718) 852-4396
The subversive invitation implicit in Fred Valentine’s paintings is to think about feeling. Which is such a cry in the wilderness, because most contemporary painting does not want to be caught dead eliciting feeling, let alone thinking about it, and these baker’s dozen of paintings do both.
The invitation is subversive, because when we first walk into the little Bogart Street gallery, several rectangles that appear to be pleasant little constructivist paintings ring the room. And the temptation is to think, “here is a sincere, old-school artist still fighting the good fight, and making hard won little tasteful abstract paintings that we are supposed to admire for their indomitable hopefulness.” Well, banish that thought.
These paintings are like sweet little children that will lie to your face and pick your pocket and steal your watch when you bend down to pat their heads. They sneer at the distinction between abstract and representational, and most are more like optical illusions of abstract paintings. Their beveled wood frames replete with brass plates, are just stripes of paint with an ochre oval that often just dissolve into the middle of the painting, where atmospheric colors suddenly become solid. Untitled Abstract Picture #14, 2011-2012, has one spiraling rectangular passage where the color subtly changes from a dark walnut, to ochre, to orange, to green, to grey while seeming to stay as discrete shapes that interlock and overlap with themselves, like parodies of Frank Stella’s Polish Village series from the ‘70s.
But we don’t begrudge these paintings their sleight of hand, because Valentine continually shows how pictorial allusions are embedded in the language of painting. These days, plenty of painters from Charlyne von Heyl to Gary Stephan, do that. Valentine’s achievement is revealing how emotion comes to occupy those allusions.
So by the time we get to Untitled, 2015 we understand how a flat grey hyperbolic shape overlapped by another black hyperbole and a black stripe can be seen as two mountains and a tree at dusk. The addition of the shaded brown stripes that surround the central image like a trompe l’oeil frame, only reinforce our desire to turn this geometric abstraction into a memory of night at a mountain retreat. The memory triggers feeling, and though you are constantly reminded of the reflexive nature of the painting, you understand how the feeling arises.
The exhibition is eponymously titled Toward Grandfather Mountain after the final five and a half foot high oil on canvas (the paintings in the show are mostly oil on wood panel) on a small wall facing away from the entrance that we discover at the end of the show. Like most of the others, it too, has the brown trompe l’oeil painted frame. But its image of a mountain seen through two giant boulders emerging out of a lake in moonlight has a slightly different character. The forms are not flat, the boulders have a massive solidity, the sky is cloudy, there is a round object that could only be a moon, and the water seems to glint in the moonlight.
What is different about this painting is that its light and mass is almost entirely achieved through moments of reflection on a surface, crusty and bumpy from built up paint, which varies subtly in its matte quality and darkness, almost as deep as a Reinhart painting. Towards Grandfather Mountain. Is this what all the paintings have been building to? Or is it just a metaphor for the inevitability of old age? The sarcasm that lurks behind Valentine’s work, both allows for the obvious, and ridicules it at the same time, aimed not only at us, but at himself as well.