|todd camplin weekly...
|IF I COULD EXTEND
2 SHOWS THIS YEAR.
by Todd Camplin
If I could extend only two of this years fall opening shows for just another week; they would be
Graham Caldwell at Circuit 12 Contemporary and Trey Egan at Cris Worley Fine Arts. These two
artists play in the realm of abstraction, but their approaches are quite different when it comes
to medium and composition.
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|Trey Egan’s work is partly about the material of paint. The colors, textures, and mixture of paint
on canvas. Now plenty of artists has focused on the material of paint. Egan transcends the
physicality of the material with his intuitive understanding of complex composition. He
understands that a great painting uses contrasting elements. His paintings have areas of calm
contrasting with energetic gestures of paint. I have seen others attempt a level of complexity,
rhythm, and automatic painting; but no one can come close to Egan’s style and skills. For
those that have seen past shows by Egan, you might notice that he has subtly shifted away
from using a lot of earth tones to a more diverse plate. It also appears that many of the marks
of paint seem to be fresh, with little or no repetition. Not including the color field areas, it is
like he kept mixing with each stroke of paint.
|Unfortunately for everyone, this is the last week for the shows. Both come down this weekend.
However, with such captivating artworks, both Graham Caldwell and Trey Egan will surely
return. Circuit 12 Contemporary’s upcoming show is Builders, curated by Benjamin Terry.
In an age where curators have gained ever more importance, Terry has played his part
in creating some thought-provoking and quite fun exhibitions. Cris Worley Fine Arts’
upcoming show will be sculptures by William Cannings and paintings Charlotte Smith,
which a must see.
|Graham Caldwell comes at abstract through his use of glass. Some of the works were more like
funhouse mirrors, yet elegant in shape. Other mirrored pieces broke up the viewer's image like
a cubist painting. I enjoyed the works titled Polychromatic Formation. The sculptures’ colored
glass gave the effect that you were looking at oil rather than glass. When you look at his glass
orb pieces just right, the reflections in the glass appear to keep repeating the shapes. You can
get lost in just about any of Caldwell’s objects. On my excursion with my ten-year-old to the
gallery, he didn’t want to leave. I couldn’t stop thinking about the show myself. These were
not just shiny objects, but a game of transparent, translucent, and reflective play with the