Cedric Michael Cox at the Carnegie

Though Cedric uses the term 'quilt' to describe in part his approach to his paintings, they could just as easily be mosaics, or even stained glass, given their use of dark lines separating the colors. For example, in Visions on Elm (2009) the color hues are sensitively worked so that the overall effect of the ochre, blue and sienna earth tones are harmoniously balanced within the composition (we could make a stretch and see in these colors a delicately muted Pan-African palette). This is necessary since the geometrical lines fervidly populate the whole canvas. Within those lines some are carefully parallel, creating calming rectangles, whereas one may find triangles and even circles (and arches). Though Cedric's inspiration comes from living downtown, his focus on its neoclassical architectural elements (such as the Ionic capitals, Gothic cornices and numerous stairwells) reminds one of an old European city.

I noticed that in most of his paintings the lines seem to fit on a grid-like structure. The painting Reflections (2008) stood out as an instance of departing from this tendency. Also note the presence of an oak tree in some works, the tree seamlessly blending with the surround. It is nature and polis, as one.
-A.C. Frabettii

[Note: there are many other excellent artists showing currently at the Carnegie]


Cedric Michael Cox.  'Urban Rapture,' The Carnegie Visual and Performing Arts Center, 1028 Scott Blvd.
Covington, KY.  Jan 8-Feb 19, 2010.  Also currently showing work at the UnMuseum at the Contemporary Art Center.  Visit his web site by clicking here.
In Photo: Visions on Elm, 2009.  Acrylic on Stretched Canvas, 48inx48in. Photo from artist's web site.

Victor Strunk at Gallerie Zaum

Prevention for an Accident (2009) features a curious paper-mâché styled head appended voodoo-like to a found-object 'body' comprised of black-painted wood, a pair of wheels, broken glass and an inverted thermometer.  The figure appears to have been in an accident, or likely to get in one given the disharmony of the wheel heights.   The head seems to imitate some personage, the rest a narrative for its 'world,' or personality.  The head seems like a separate entity, but does carry a subtle relationship to the rest of the composition (e.g. in Flea Market Aphrodite (2009), the head is flat, like the whole).

In all, these qualities (including the overall dominant naive or primitive aesthetic) give Strunk's sculpture and his others an uncanny quality.  I am reminded of Freud's writings on this term: familiar yet unfamiliar experience that is a return of repressed infantile psychic content.  I am not sure how apropos such a Freudian interpretation would be of his work.  However, the formal features symbolize the severance of the mature ego (the head) from the rest of the body (representing the unconscious).  In any event, many such sculptures fill a portion of a sizable wall in Gallery Zaum.   They enthrall, in their uncanny way.
-A.C. Frabetti


'Victor Strunk: An Exhibition of Paintings and Sculptures Infused with Mojo'. Closing reception Saturday, January 30 from 6-9 pm. Gallerie Zaum, 811 monmouth St., Newport, Ky. 41071. 859-441-3838.

In photo: Prevention for an Accident, 2009.  Mixed media, approx. 2' height.  Photo courtesy of Gallerie Zaum.