These paintings are very well executed, locked as they are in a tight style.  The paint handling and textures suggest ancient walls recently revealed resplendent with an ancient calligraphy.  In his statement on the work the artist sees them as personal visual maps.  Yet at the same time they are structurally and unapologetically abstract.  The paintings break out into two types - flat panels and tall vertical totems of which the latter are in the minority.  The totems, given the more restrictive format, primarily deal with symmetry in accordance with their long vertical arrangements. This work is very easy to like given its pleasant arrangement of agreeable colors, interesting textures and quirky forms.  Michael Shemchuk is clearly quite comfortable with what he does but after awhile it made me a bit uncomfortable. I’m sure there is a history of struggle for Shemchuk to get to this place with his work but I don’t see it now.  On one hand the confidence is good and solid but having now arrived, but that same comfort level is in need of being challenged.

Michael Shemchuk, Meridian 37, 2007, oil, gypsum and graphite on panel, 46 x 48 in

Michael Shemchuk, Totem 23, 2007, oil, gypsum and graphite on panel, 76 x 8.5 x 4.5 in

Michael Shemchuk, Eleven E, 2006, oil, gypsum and graphite on panel, 46 x 64 in