This show is the third I’ve seen of John Opper in this gallery. But this body of work distinguishes itself for the time period it was produced (late 60s) and how it subsequently differs stylistically.  Unlike the previous paintings from the 50s which were loose, painterly and emotional, these pieces are a bit detached.  It begins with the forms which evolved from organic origins into these architectural constructs.  Opper appears to have had a great time messing with space in these paintings. At times the forms are laid in like painted planks and stacked next to each other. In other cases the shapes are permitted to overlap.  All of this represents a major departure from the earlier work.

John Opper, Untitled (103 j), 1969, acrylic on canvas, 54 x 54 in

Color, which is represented by a bright and lush palette, is a constant and establishes a bridge between this and the previous work. The color and the painterly way in which the edges of the forms are handled counteract the coolness of their rectilinear order.  Because the shapes are flatter, more defined and simpler, the color has an opportunity to function as a independent element.  Without being pejorative these paintings suggest the warmth and intimacy found in children’s book illustrations.  But it is only the color that establishes this connection.

John Opper, Untitled (94 j), 1969, acrylic on canvas, 22 x 30 in

The subject matter for these paintings obliquely engages an urban sense of place.  Naturally the forms suggest this, but it is also due to the way they engage the space plus the pulsing luminosity and energy of the color.  Opper creates a sensual metropolis of the mind with this work; one that is lyrical and beautifully rendered.  Because no explicit narrative is put forth, Opper’s personal vision is generously opened to interpretation.

John Opper, Jazz-M-68, acrylic on canvas, 46 x 46 in