Featured Review: Alex Gene Morrison: Black Economy Two small oil paintings by London-based painter Alex Gene Morrison have found a singular venue for intimate scrutiny: a seven-by-seven-by-nine-foot white box in the home of curators Dana Turkovic and Daniel McGrath. In the dining room, to be exact. The experience of the space -- a homemade and radically compressed version of a contemporary gallery -- is as much of a focal point of the exhibit as the works themselves. An apt analogue for the reductive abstraction depicted in the paintings, the act of considering work in this space is an extreme distillation of what it means to closely observe art: One becomes all too aware of that expectant act of awaiting some kind of revelation or impact. In Alignment a dark pyramidal form rises from the edge of the picture plane, above which a skyline of thick orange paint hangs like a post-nuclear sun; in Slab a brown rectangular hunk sits reticently in shallow space. The two works are, respectively, the ur-forms of the landscape and the still life; protracted inspection reveals their tactile execution -- varying brush widths, gradations of gloss, thickness of paint application. The imagery becomes surreal and portentously symbolic, nearing occult signification (a refined version of Pink Floyd's Dark Side of the Moon album cover; a psychedelic Chardin?). But maybe that's too much observation. Whatever the reality, viewing Black Economy in the "gallery kit" succeeds in applauding visual sophistication and, just as succinctly, indicting it. Through November 9 at Isolation Room/Gallery Kit, 5723 Dewey Avenue; 314-660-6295 or www.gallerykit.blogspot.com. Hours: by appointment.
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