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Page 2 - Peter Acheson / February |
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shapes show up here and there. This, along with the application of color and surface informs the work with a true sense of style; one in which the paintings appear related to each other even as they remain fiercely independent. Although the placement of the forms appears somewhat �tossed off�, in fact the composition of these paintings has been given a great deal of attention. Acheson�s approach to composition is elegant and subtle for allowing the sensual color and paint handling to take precedence. |
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Untitled, 2004, oil on board, 9 x 12 in |
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It is how the artist directs these elements that opens a portal to their meaning. Acheson beautifully articulates a child-like esthetic which is at once simplistic and sophisticated. This represents a rather difficult balancing act where one might fall either toward a phony, overdressed, replication of children�s art or, toward a cool over-arching intellectualism that would kill the sensibility. These paintings manage to get it just right over and over again in large part because no singular driving agenda or ideology is pushed in the work. Rather, Acheson seems content to let his paintings find their own logical conclusions in their own way. The approach is to build a structure of forms upon which is added the �flesh� of the paint. The varied combinations results in |
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