Chelsea

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Schwalb certainly knows how to manipulate color and surface. In Red/White/Blue VI the smaller horizontal lines are evenly placed while the larger ones vary as to thickness and length. From a distance the color combination is both reductive and deliciously rich.  On closer examination the larger lines suggest painful claw marks etched into flesh.  But the �flesh� is the muted blue paint on the surface of the canvas.  In this piece Schwalb has neatly and poetically abstracted the quality of the sensuousness; of pleasure and pain from any direct narrative reference.

Susan Schwalb, Red/White/Blue VI, 2002, silverpoint & acrylic on paper on wood,
24 X 24 x 2 in.

Susan Schwalb, Red/White/Blue VI, (detail)

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Susan Schwalb, Mesa III, 2002, silverpoint & acrylic on paper on wood, 24 X 24 x 2 in.

Susan Schwalb, Mesa IV, 2002, silverpoint & acrylic on paper on wood, 24 X 24 x 2 in.

Throughout the body of work the artist repeats the effect.  The forms are uniformly painted on uniformly proportioned canvases so that your vision is, for the most part, restricted to focusing on the variety of subtle differences offered. As with Steve Baris, Susan Schwalb�s content is found in the balance between order and subtle spontaneity.

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