Contributed by Sharon Butler / Tom McGlynn�s enigmatically reductive paintings are a study in subtle contrasts between systematization and autonomy, order and disarray. Horizontal rectangles of various sizes and colors are rendered on a monochromatic surface, each with immaculately straight edges and carefully painted a solid color. Yet these shapes, while neat and precise in themselves, purposefully lack an organizing device, such as a grid or spatial symmetry. Accordingly, the playful, unstructured way in which they are positioned seems entirely intuitive. Created with muted brushwork in unexpected�color combinations, the geometric units float and bob, hovering on the surface of the panel.
The shapes aren�t symbolic, and they don�t conjure a discrete narrative about internal relationships. But they do provide some evidence of this artist�s specific intention and process. His very determination to untether geometric shapes from overarching structures frees viewers to assign a wide range of meanings to the rectangles � as road signage, faces, packaging labels, decals, text blocks, or even aspects of the history of abstract painting. His work is eloquently succinct testimony to the power of individuality and freedom.
�Tom McGlynn: Station / Decal / Survey,� Rick Wester Fine Arts, Chelsea, New York, NY. Through December 23, 2017.