Patrick Hughes/Herbert Creecy

Angela Flowers Gallery (Los Angeles)/City Gallery East (Atlanta)

Together for no reason but that one's works are unreproducible, and the other's unreproduced.1

Patrick Hughes
Bookish
handcolored multiple 3D construction
edition of 35
46 x 70 cm
1999

Patrick Hughes
Doorways
handcolored multiple 3D construction
edition of 35
46 x 70 cm
1999

Hughes: a zigzag of tangible elements forefronting a manic exercise in sedate vision; you look upon a canvas-sized wall construction with a sort of representation on it, and as you look it opens into a series of doors on a tropical beach, a Borgesian library, an art gallery, and as you move along it the picture moves to the last line of vision to give you all the details.

Herbert Creecy
The Eye and Birds
acrylic on canvas
69 x 66"
1972

Herbert Creecy
Red Jungle
acrylic on canvas
66 x 56"
1986

Creecy: impossible generator of matrices within perfect paintings, from the tragedy of isolated spatters to paintings as electric as if plugged into a wall socket, the force of the brush, adherences of form, meremost declinations of decorative ambiguity in an elemental state of conditioning, what you can do with a brush.

Herbert Creecy
Shaking Shanty
acrylic on canvas
67 x 67"
1980-1983

Herbert Creecy
Red Heat
acrylic on canvas
85 x 66"
1988

1 But see Fooling the eyes: trompe l'œil and reverse perspective, Nicholas J. Wade, Patrick Hughes, Perception, Vol. 28, No. 9, 1999.

 

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