tom moody

tom moody's weblog
(2001 - 2007) (2004 - )

2001-2007 archive

main site


digital media tree (or "home" below)

RSS / validator

BLOG in gallery / AFC / artCal / furtherfield on BLOG

room sized animated GIFs / pics

geeks in the gallery / 2 / 3

fuzzy logic

and/or gallery / pics / 2

rhizome interview / illustrated

ny arts interview / illustrated

visit my cubicle

blogging & the arts panel

my dorkbot talk / notes

infinite fill show




coalition casualties

civilian casualties

iraq today / older

mccain defends bush's iraq strategy

eyebeam reBlog


tyndall report

aron namenwirth

bloggy / artCal

james wagner

what really happened


cory arcangel / at

juan cole

a a attanasio

three rivers online

unknown news



edward b. rackley

travelers diagram at

atomic cinema


cpb::softinfo :: blog


paper rad / info

nastynets now

the memory hole

de palma a la mod

aaron in japan


chris ashley




9/11 timeline

tedg on film

art is for the people


jim woodring

stephen hendee

steve gilliard

mellon writes again


adrien75 / 757


WFMU's Beware of the Blog

travis hallenbeck

paul slocum

guthrie lonergan / at

tom moody

View current page
...more recent posts

A couple of paintings by Giovanni Garcia-Fenech currently grace the walls of The Project, 427 W. 126th St., NYC (in a group show, through February 2). This is intelligent almost-abstraction with a playful streak; imagine some offbeat combination of William Baziotes and John Wesley, rendered with a flat acrylic surface recalling Peter Halley's early, quirky paintings and you're sort in the neighborhood. Even though these images are baroque compared to Garcia-Fenech's earliest work, which looked like spare, airport pictograms, the key here is still economy: getting the most out of a few recurring elements.

The paintings in the current series all begin with a pour, or splash, which is then outlined with acrylic so it becomes a depiction of a splash. Element No. 2 is an eccentric, hand drawn shape or pattern engaged in some kind of conversation, or dance, with the splash: in Belt (right), it's a white shape that intertwines with a black splatter like a copulating doppelganger-skeleton. Element No. 3 is the John Wesley touch, some kind of doofus-y, twee cartoon thing that gently mocks, or threatens to undo, whatever seriousness the painting has managed to build up. In Belt it's--d'oh--a belt, that perversely joins the dryhumping bone-blobs in a consensual bondage fantasy. Other paintings feature evergreen trees, tiny flames, bugs, crowns, spindly trees: whatever it takes to make an already awry composition that much wryer. Clicking on the thumbnails on the artist's website is highly recommended, because as good as a couple of images are, seeing a lot of them has a cumulative effect towards appreciating how smart this work is. The titles--Backslider, Jane from Occupied Europe, Prone To, Prone Again--mirror the tone of skewed archness.

- tom moody 1-17-2003 6:10 pm [link] [add a comment]