A “personal relationship with shapes” and a search for “the beauty behind the math” mean something different to each of the six featured artists in the “Geometrix: Geometry in Art” exhibition.
The show of work by Oklahoma City artists Noel Torrey, Dan Garrett, Bryan Boone, Klint Schor and David Bizarro, and Yukon artist Eric Wright, is on view at Science Museum Oklahoma.
Pastel-hued grids of squares, subdivided into triangular and pyramid shapes, or target circles within circles, vibrate with intensity reminiscent of “Op Art” in the oil and watercolor paintings of Torrey.
A 64-piece grid of glowing, multi-colored target squares adds up to a 21st century equivalent of the old-fashioned patchwork quilt in Torrey's “Kind of Blue,” one of his best works.
Rougher welded steel rectangles of various colors and rusted circular disks create a large, eye-grabbing, neo-cubist, horizontally-hung composition in Garrett's “Kirmizi Ari (Red Bee).” Much more vertical and delicate is “Citadel,” which brings to mind a skinny, bronze or copper-colored, defensive tower, with open, welded steel grid work.
Wright relies on the concrete or asphalt block — whether whole, hollowed out, divided into parts or painted — as the central metaphor of his gritty, hard-hitting wood, metal and found object sculptures.
A burned, prison cell-like wooden structure inside a concrete block, whose corner has been worn away or destroyed, may refer to the creative and destructive aspects of artistic ambition in Wright's “A Fire in My Belly.”
A Sisyphean wire figure doesn't look up to the task of using a thin-braided wire to pull a massive concrete block up a cracking wooden incline, held together with rusted bolts, in Wright's “The Burden.”
Boone combines flat, roughly rectangular painted planes of color with more complicated drawing or graphic elements in his mixed media compositions. The corner of a large yellow rectangle seems to be about to “Push” its way over and cover up a more ambiguous black, gray and white drawing in Boone's work of that title, for example.
In similar fashion, an elongated red oxide rectangular shape with a slender “panhandle” intrudes into a scratched black void and threatens the sanctuary of a number inside a circle in Boone's “Radius Five.”
In an almost playful creation called “Lumi-Knot,” Schor rolls strips of a gray, paper-like, polystyrene material inside of each other, like knots, lights them from within, and puts them on white, openwork stands.
In a room installation, Bizarro invites visitors to interact with remote controlled boxes and an automated drawing apparatus, as well as a brightly colored photo booth and video game.
Curated by Scott Henderson, the group exhibit is recommended viewing during its run in the museum's second floor Satellite Galleries, where it will be on display through Jan. 14.
— John Brandenburg