Chelsea

 GalleryViews / Chelsea

themselves becoming serial; each painting stands on its own merits. Weiss must have this in mind to some degree because dates are employed to title each piece. With this in mind, each painting suggests a diary entry.

Delving a bit deeper these paintings also tap into the surrealistic world of dreams.  From this perspective they are deeply personal without otherwise compromising other potential interpretations.  In other words, they are not about Weiss�s dreams per se but about anyone�s dreams. You might look at them and find personal references of your very own. This may or may not be pleasant because they are a little disturbing.  It�s as though there might be something just a bit wrong behind those bright, happy forms. Even as you are affected by their psychological dimensions they can be simultaneously appreciated for their formal elements.

Bill Weiss, January 29, 2003, 2003,
acrylic on wood, 15.75 x 10 in

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Bill Weiss - installation view

Speaking of formal elements there are some interesting contrasts in this work.  To begin with, Weiss pits a rather reductive esthetic against a verdant and sensual one.  The ground in most of the work is a flat white and the forms are as sparse as they are simple. But the color, though basic, is nevertheless bright, primary and lush.  Weiss�s handling of the surface and edge also contradict the traditional orderliness of a minimal esthetic. Convex and indented shapes are placed here and there in the work that either ignore or interact with the painted forms.  Although these paintings� borders consist primarily of rectangles or circles, the edges are manipulated to deny any manner of 

Bill Weiss, June 14, 2002, 2002,
acrylic on wood, 12.5 x 12.5 in

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