The L Magazine


February 12, 2015

Duane Zaloudek
#1, 1980
Watercolor paper
16" x 11" x 8"

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It won’t take you long to cursorily take in the reined in suite of works that constitute Nomad Songs—there are only so many there, the room is only so big—but it will take you quite a while to actually see them. This is particularly the case with the three new paintings on display, each an almost formally vacant entity of all-but-utter yet somehow softened whiteness in which something along the lines—or to be more precise, something within the lines—of interloping gray marks that seem never to start or finish will seize your gaze, then make you step closer, then make you blink hard to reset your capacities of sight, then just disarm you while making you wonder, perhaps, if it isn’t a bit unfair for such ostensible spareness to be quite so transfixing. Far more formally complex and dimensionally plectic, yet displaying a similar economy of palette and means, is the series of seven seemingly sun-baked cowboy hats—a reference to the ‘six thinking hats’ of decision making, perhaps, plus a seventh for thinking without thought?—Zaloudek’s deft craftings of stained sheets of watercolor paper into some sort of dried-leathery, toothsomely supple milliner’s jerky. For this viewer, experiencing the show felt a bit like meditating on the unwritten prologue for a Cormac McCarthy novel that doesn’t yet exist. Anyway, go, take your time, see—then really see—what you wish.

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