Laura Fayer (2007)


Laura Fayer

Chicago Tribune by Alan Artner

Fayer’s abstraction is work of synthesis and discovery

By Alan Artner
Published March 2, 2007

Laura Fayer’s abstract paintings at the Thomas Robertello Gallery achieve unusual poise with a highly personal vocabulary and method of working.

Their delicate grids, dashes and wave forms are created with stencils and rubber stamps on rice paper that is applied to canvas.

The compositions, which sometimes suggest landscapes viewed from above through clouds or electronic patterns caused by soundwaves, develop gradually, layer by layer.

The end products, however, have a sense of simplicity and inevitability that transcends the elaborate means. Not one of the 17 pieces on view looks over- nor under-done. They are equally satisfying, large and small.

They also find a place in a long line of abstract paintings that sought to get at rhythmic forces that underlie natural appearance. Some of the American abstractions from nature by Arthur Dove may be in the background.

But just as Fayer’s vocabulary suggests writing, so does their dignified composure evoke the art of the East, and we’re not surprised to learn the artist lived as a child in Japan and subsequently traveled throughout Asia.

This is work, then, of synthesis and discovery. It’s quiet, assured art that seeks to move viewers rather than tickle them with ideas about present-day painting.

It reassures you that abstraction is still a vehicle for considered expression.

Powered by ArtCat