Review: Carrie Moyer, "Canonical"

There's a lot one can read into these new abstractions.

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Frilly Dollop

    Carrie Moyer, Frilly Dollop

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Down Underneath

    Carrie Moyer, Down Underneath

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Midnight at the Oasis

    Carrie Moyer, Midnight at the Oasis

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Stroboscopic Painting #1

    Carrie Moyer, Stroboscopic Painting #1

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, The Tiger's Wife

    Carrie Moyer, The Tiger's Wife

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Cherry Blossom Hour

    Carrie Moyer, Cherry Blossom Hour

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Belladonna

    Carrie Moyer, Belladonna

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Rock Candy Chrysalis

    Carrie Moyer, Rock Candy Chrysalis

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Zippo

    Carrie Moyer, Zippo

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Puddy Tat's Lunch

    Carrie Moyer, Puddy Tat's Lunch

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Into the Woods

    Carrie Moyer, Into the Woods

  • Photograph: Courtesy of the artist and Canada

    Carrie Moyer, Cloud Mountain

    Carrie Moyer, Cloud Mountain

Photograph: Courtesy of the artist and Canada

Carrie Moyer, Frilly Dollop

Carrie Moyer, Frilly Dollop

Time Out Ratings :

<strong>Rating: </strong>4/5

Throughout Carrie Moyer's latest paintings, quietly menacing black shapes mingle with marshmallow-like forms amid veils of transparent color. It's as if the Shmoo and dark matter were in a comic dance of probing and nudging while expelling foam, urine and fruit punch.

Frilly Dollop, for instance, suggests a sky hovering over the earth like Uranus over Gaia, as a large white shape protrudes to create a cartoonish finger. Milky puddles and stains of yellow and red flow like the effluvia of Creation, laying down strata in a bodily landscape. In Stroboscopic Painting #1, violent motion, extreme temperature and self-destruction are conjured as a dark, molten plume, shading from red to blue, before punching into a white halo at its tip.

Moyer evokes a diverse range of references with seeming ease. The igneous activity coursing through the compositions is exaggerated and frozen like in a comic strip. The black zones surrounding gauzy pools of color recall stained glass. The overlapping areas bring to mind Venn diagrams. Ultimately, Moyer's abstractions seem almost animated, as each puzzled-together element is defined by its own turbulent inner weather and an aura that hovers around it like a ghost.

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