Neel’s abstract world references nature with its earth-tone colors of greens, blues, browns, and grays. Organic and biomorphic forms are contrasted against more rigid structures of geometric shapes. In some works, flat geometric bars of white-and-black paint hover in the foreground, creating a spatial depth while setting up an architectural form beyond which an abstract world exists. The paint saturates the canvases and the spread of insect or avian wings emerges as a backdrop for other shapes. Neel also folds painted canvases to create asymmetrical, Rorschach-like forms, and it is the center created within the unfolded work where the viewer enters the paintings. The paintings are sometimes airy, sometimes layered with paint-thicker in some areas, washes in others-with shapes poured, wiped, rolled, or brushed. Reoccurring styles of abstraction, expressionist and geometric, wove themselves through the art, as did similar color schemes in works both spontaneous and calculated.Ĭontemporary painter Elizabeth Neel’s exhibit Tangled on the Serpent Chair at the Mary Boone Gallery’s Chelsea location was a knock out, with large abstract paintings luring viewers into their open expanses. The fall art season in New York overflows with exhibits and I saw a lot of artwork, and what emerged time and again was a visual dialogue between these various artists and their paintings. Four times a year, WTP art correspondents from around the country will report back on the previous season, with images from exhibitions you otherwise might have missed, and their own insights into these varied venues.
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