Casey Kaplan
Review: Garth Weiser
June 24, 2013
By The New Yorker
A young New Yorker from Montana employs crackerjack techniques to make large, seductive, rather noble abstract paintings. In most, many layers of oils in grayish color ranges are striated horizontally, mingling ghostly traces of drawn forms with growling materiality. (They appear to generate moiré effects, but look again; the seeming illusions are locked in.) In other works, fields of copper or silver embed skeins of exuberant gesture that would seem to explode in all directions were they not stilled by their union with the wall-like surfaces. An impression of multiple painterly events, frozen in a ceaseless present tense, beguiles