The artist in transition is in a special place. No longer tied to the works of the past but still nurturing its successes, the artist seeks new frontiers and avenues of exploration and expression. These are the moments when worlds collide, overlap, envelope, and eventually give rise to something new and decisive. Frequently this metamorphosis occurs outside of the public view in the private spaces that are mind, home, or studio, but on rare occasions, whether in exhibitions or privileged meetings, we are invited to witness this process fist hand. Such is the case with Michael Willett’s new show at the Fitton Center.Part of a larger group exhibit dubbed “Floating”, Willett’s new work is, as transitions often are, derived from that which is at hand. Found objects are organized, arranged, and interpreted in this show which makes use of tidy lines and saturated color. The arrangement is spare, if not altogether Spartan, and yet the vast areas of open space allow the individual pieces breathing room. In Untitled (Atlantic 45) (2010), a large work of paint and cut vinyl that stems from the sleeve of (obviously) an old Atlantic 45, the viewer is confronted with a simplicity of form and color that hearkens back to some of the geometric and minimal movements of the early 1960s. For having such an unadorned approach to composition and color harmony Untitled (Atlantic 45) has a surprising amount of visual “force” behind it. Of the works on view, (Atlantic 45) does come closest to straightforward reproduction of the original found object. While not necessarily bad, there is a danger in this approach in that it the work itself is no longer endowed with self generating meaning, but rather acts as a trigger to a meaning that exists outside of the image and resides (in a preconceived manner) within the viewer, or in the object from which it originates.
In Untitled (81 Circles/Designs + 14 Circles/Designs) the color is slightly less restricted and significantly more playful. A diptych that samples the imagery of found vinyl advertisement, (81 Circles/Designs + 14 Circles/Designs) pushes a unit based approach to composition that also pays homage to minimalist technique. There is an engaging contrast here between the dense 81 circles on canvas, and the austere 14 circles composed directly on the gallery wall. The tension between painting as object and painting as “window” present in the work is a pleasant reaffirmation that all that is needed for a surface to establish itself as pictorial is a delineated edge.Willett’s previous major body of work has been highly invested in installation and site specificity. In this current exhibition, he is clearly adapting the tools, materials, and technique of his previous production to something more object based. If this new work is any indication, Michael Willett’s next major body will be something considerable indeed.
-Alan D. Pocaro
“Floating" at the Fitton Center for Creative Art 101 South Monument Avenue Hamilton, OH 45011-2833
Through August 6th.
Photos: Above, Untitled (Atlantic 45) Hand-cut vinyl advertisements and acrylic on wall, Dimensions variable, 2010.
Below, Untitled (81 Circles/Designs + 14 Circles/Designs) Hand-cut vinyl advertisements and acrylic on canvas and wall, 36"x75", 2010.
