Phyllis Weston Gallery has recently opened two exhibitions, The Lyrical Modernist: Harry Reisiger (1922-2009) and Fragmenting the Landscape: Contemporary Work by Kim Flora and John Humphries. Reisiger studied at the Art Academy of Cincinnati and there befriended the Modernist maven Paul Chidlaw. This — the first posthumous survey of Reisiger's paintings — clearly indicates their shared aesthetics, as well as Reisiger’s inspiration from music and landscapes. His "Seaside" is a sea of muted greens, and like many of his paintings possesses the special quality of oscillating from discernable imagery to the pure sensations of paint’s formal qualities. The adjoining exhibition pairs encaustic (wax) painter Kim Flora with globetrotting John Humphries. Humphries has been sending postcard-sized abstractions of city views to the gallery on his various travels, and they are presented with their mailing envelopes. Flora's work seems to respond to the Reisiger exhibition. I am used to her paintings being thoughtfully fragmented and collage-based, and some here are. Others seek to order wax, watercolor, gold leaf and collage elements into images of sunsets or flowering trees. Both exhibitions continue through Aug. 15.
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