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Two things collide in these paintings: the austere esthetic embodied by the (mostly) severe colors and reductive forms, and, the small bits of wildly expressive gestural paint. In a way they encapsulate, at a very primary level, the experience an Ingmar Bergman film provides. As objects they are like Bergman�s characters; personas of sup- pressed dark secret feelings that are nevertheless unable to completely shroud intense and explosive emotions. Because of this these paintings are imbued with a peculiar variety of understated surrealism that is as reductive as it is sensual. |
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Summer Pond, 2000-02, oil on canvas, 122 x 85.5 in |
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Begin with the subject matter which immediately suggests a relationship to landscape. �Landscape� doesn�t quite fit though, at least not in the traditional understanding of it. Steir�s landscapes reference such generalized entities as bodies of water, skies and the cosmos. One painting, |
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