The artists use of the elements of art is quite masterful in this painting. I think its an analogous color scheme with warm yellows and oranges resting on an olive green foundation. The reds in the corners trend towards dark due to the adjacent dark greens. The piece has some strong 3D effects, especially in the fingers and the pieces of eggshell. I would say some kind of magical realism is at work here.

Result #1

Some of the paintings in this show are based on picture plane paintings in which the image is projected on the back wall, a soft surface on which color plays a major role. However, these pictures were all found on the floor and almost all couldnt be shown on any flat wall. Some of them were very bare, and they were painted so crudely, they didnt look like the finished products they were. The very small ones are good, but the one that came out of this group show looked best. I would suggest that the small paintings were in fact the most delicate and most personal ones made. The larger ones might have been too rough to see any more clearly than they did.

Result #2

I dont know of any visual effect that is so radical and so intent on being pure that the paintings are so great. It seems to me that Robert Morris has tried to do too much with too little. Martin van Harensner is a strange one.

Result #3

Red and pink in the corner are less active than the bigger swatches of pale yellow in the corners. But the paintings overall statement is too subtle to convey any real depth.

Result #4

But the color is very, very heavy. It is as if the artist were painting his big, green space debris, or the canvas of his buddy off-center. The result is a very structured, sad-sack-of-light image of lost innocence.

Result #5

At the same time, the use of more than one element of traditional painting is not as apparent in this work. These paintings are of a kind of style that one might associate with Max Ernsts recent pictures. But although the color schemes are all very close to the same, the working is the same. This painting doesnt possess the richness of the earlier ones, and the colors are similar. In this, too, the fact that the colors are gray or cream is very little important. The paintings were colored in rather loose networks of an incongruous visual substance, which is not difficult to find in similar works made up of similar materials. Because these paintings are so good they are hard to look at, as if you have to look very hard to see them. The feeling is one of sheer joy.What makes the work good is the special qualities that generate such a powerful sense of suspense. This picture is a good-sized surprise, and not something one expects to find in a painting of this size. The realism and technical excellence of the work is very impressive. But where the work is most effective, it is in the simple gestures that those responsible for it make. These movements, to be quite honest, come closest to the precision of Peter Nuystads work. The body of water in his recent picture has a very realistic feeling to it, and its ability to convey this feeling is due to the ability of the brush strokes to penetrate and hold in place the texture of the water. The pressure of the brush strokes is very slight, and gives a very even feeling to the painting. The whole picture is a success, and a joy to look at.