'Flotilla', (2006). Helen Frankenthaler. Screenprint. 31" x 37 inches. Edition of 120, signed and numbered, FRANK420. Courtesy the artist and Leslie Sacks Gallery. Copyright all rights reserved.
‘Abstract Icons’ @ Leslie Sacks Gallery
Onto the daring to consider, Abstract Icons @ Leslie Sacks Gallery seeks to inform the world with those impressions which are courageous in contemplation. That reduction, away from storytelling, to affirm nevertheless the same weight of marvel – is a difficult cross to bear. The chasm in appreciation among the common sense world of instant and blaring amusements – for what does the toddler enjoy the most? – there is this stern, hidden, spiritual power unleashed.
At least uncloaked.
‘Untitled’, (1968). Sam Francis. Gouache and watercolor on paper. 43 1/8″ x 31 1/8 inches. Signed and dated, FRAN968. Courtesy the artist and Leslie Sacks Gallery. Copyright All Rights Reserved.
For the time-evolution of Western Civilization, from its ancient forebears, to the presentiment of demonstrations of true beauty void of imitations of imagination causes a stir in appreciation; for the works have no discernible end. Untitled (1968) by Mr. Sam Francis is precisely that open; towards inquiry; an enjoyment which is more enlightened than the base passion which is universally endearing; as much as a World Cup golazo.
Expanding the conscious possibilities of man, the artist is tasked with informing the mind with original impressions he or she would not dare consider, so, as I remark upon this very artwork by Mr. Mr. Robert Motherwell, Mexican Night II (1984), bold.
‘Mexican Night II’, (1984). Robert Motherwell. Aquatint. 25″ x 24 inches. Edition of 70, signed and numbered, MOTX318. Courtesy of the artist and Leslie Sacks Gallery. Copyright All Rights Reserved.
An honesty is experienced in that intensity of effort to do good. The dividend, that eternal equity of sweetness, is in the profound pungency of its forms. A heady red, unrelenting; thick yet not sharp black lines; a smearing but not smudging of slop; and an absence which adds a focal point; that play with white – what sparked the resignation of satisfying the progress towards these architectural elements?
Can a derivative be made? Certainly. But with as much care?
This is where fine arts has transcended – towards an understanding of the testimony informed with prior knowing of original efforts, where that serious affirming of the ostensibly petty in difficulty is humbled to appreciate the thoughtfulness.
‘In the Wings’, (1987). Helen Frankenthaler. Sugar-lift etching, soft-ground etching, aquatint, etching and lithograph. 13″ 1/2 x 21 inches. Edition of 50. Signed and numbered, FRANKX135. Courtesy of the artist and Leslie Scaks Gallery. Copyright All Rights Reserved.
In The Wings (1987) Similarly, has an emptiness in its occupation of the space; yet that concentration of work reveals a splendor. An, I think of it, ethereal presence of an impeccable flurry of brushstroke? So granular the movement is, it is practically cosmic in its effects. Amazement with such minuteness of presence; a hidden joy with least; is merited to be perceived.
‘Flotilla’, (2006). Helen Frankenthaler. Screenprint. 31″ x 37 inches. Edition of 120, signed and numbered, FRANK420. Courtesy the artist and Leslie Sacks Gallery. Copyright all rights reserved.
Flotilla, by Helen Frankenthaler too, has that impeccability. Precious, playful contours, delicately formed. A waviness, yes, that is exciting to discover upon closer inspection. It’s this cohesion from far and near sightedness which opens up the intellect towards more enjoyment; with colors that don’t scream (for why does one need to appear so anxious?) but answer quietly: harmony. A peaceful presence it is, innocuous and charming.
For more information please visit the gallery.
2525 Michigan Avenue B6
Santa Monica, CA 90404
T 310 264 0640