Ameringer McEnery Yohe
525 W 22nd St, New York
April 27 - May 26, 2017
Patrick Wilson’s canvases are populated by hard-edged squares and rectangular planes in varying opacities, stacked and weaved in breathtaking compositions. Using subtly layered tones, he creates rhythms of color that feel dynamic yet balanced. His juxtapositions are intriguing and often unexpected—a flash of bright yellow or cyan may appear among otherwise muted tones. A closer look reveals barely perceptible variations in finish and thickness, lending the paintings an added dimensionality.
Though they appear at first glance to be comprised of thin sheets of plastic, Wilson’s works are in fact made of layers and layers of acrylic paint. He constructs these immaculate compositions by hand, using tape and a drywall blade to pull the pigment across the canvas. Wilson allows his paintings to build over time in an organic and intuitive way, and describes any “failures” as “productive, even necessary, for the growth of the painting.”
The resulting works are pristine—obsessively built up over time to a near sculptural degree—yet they feel remarkably effortless. Lilly Wei describes this improbable perfection as “a trompe l’oeil of facture that is only one of a number of visual feints he deploys to tantalize and engage the viewer.”
Patrick Wilson (b. 1970, Redding, CA) received his Bachelor of Arts degree at the University of California, Davis in 1993 and his Masters of Fine Art degree at Claremont Graduate School in Claremont, CA in 1995.
He has had numerous solo exhibitions, including “Evolving Geometries: Line, Form, and Color,” Center for the Arts at Virginia Tech, Blacksburg, VA; “Steak Night,” Susanne Vielmetter Los Angeles Projects, Culver City, CA; “Patrick Wilson: Pull,” University Art Museum, California State University Long Beach, Long Beach, CA; “Slow Motion Action Painting,” Marx & Zavattero, San Francisco, CA; and “Slow Food,” Curator’s Office, Washington, D.C.
Recent group exhibitions include “On the Road: American Abstraction,” David Klein Gallery, Detroit, MI; “Geometrix: Line, Form, Subversion,” Curator’s Office, Washington, D.C.; “NOW-ISM: Abstraction Today.” Pizzuti Collection, Columbus, OH; “California Visual Music – Three Generations of Abstraction,” Guggenheim Gallery, Chapman University, Orange, CA; “Local Color,” San Jose Museum of Art, San Jose, CA; 2010 California Biennial, Orange County Museum of Art, Newport Beach, CA; “Keeping it Straight: Right Angles and Hard Edges in Contemporary Southern California,” Riverside Art Museum, Riverside, CA; and “Gyroscope,” Hirshhorn Museum and Sculpture Garden, Washington, DC.
His work is included in many public and private collections including the Columbus Museum of Art, Columbus, OH; Crocker Art Museum, Sacramento, CA; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Long Beach Museum of Art, Long Beach, CA; Los Angeles County Museum of Art, Los Angeles, CA; the Orange County Museum of Art, Newport Beach, CA; and the San Jose Museum of Art, San Jose, CA.