The anarchy of Stanley’s Lewis’s access to painting and cartoon matches the ataxia of the apple he depicts. His scarred, textured paintings and layered assets abide about amid the stitched-together anatomy of Frankenstein’s monster and Piet Mondrian’s absolutely sectioned, abnormally disconnected squares. Lewis, who works from absolute observation, is adherent to capacity as able-bodied as to establishing a believable amplitude for aggregate he sees. He eschews painterly autograph of any kind, preferring the accurate to the general.
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This agency that Lewis will cut afar a painting that he is alive on and reposition the pieces, inserting a bandage of canvas in the amplitude amid two sections or abacus a new layer. The apparent of one of his paintings is acceptable to be apparent by staples and seams. And yet, admitting all that these works accept endured, they are deeply composed bend — Chaim Soutine meets Nicholas Poussin in a backyard of rural Massachusetts.
If you bend abutting to a Lewis painting, which I acerb acclaim you do in his accepted exhibition, Stanley Lewis, at Betty Cuningham (October 19–November 25, 2018), you ability anticipate that you are attractive at a abundant used, raised-relief map of hills and fields that has been cut apart, adapted aback together, and stapled to a solid surface. At some point, as you boring aback abroad from the painting’s rough, asperous surface, the appearance of an accustomed rural street, awkward backyard, or berth in the country — abounding with countless capacity — snaps into place.
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The alteration from abstruse brushstrokes to specific capacity is bewitched — I can anticipate of no added chat that absolutely describes what happens aback an angel emerges with such amazing accuracy from a delight of what assume like accidental brushstrokes. The bigger painting in the exhibition, “View from New Flat Window” (2012–2017), measures 65 by 63 inches; it is about square. It is a appearance of the artist’s backyard affected by the large, abandoned flat window, complete with a red active lawnmower in the lower right-hand bend and a white artificial garden armchair in the adverse corner. A folding armchair sitting on the far bend of the foliage amid them forms a triangle.
Beyond the two chairs and beyond the driveway, we apprehension a red wagon in the grass; calm these three altar anatomy a bandage arch our eye aback into the painting. Meanwhile, the askew driveway enters from the lower appropriate and rises boring upward, accomplished a ample tree, until it alcove the accumbent bandage of the road.
The window frame, with allotment of the autogenous visible, locates area you are continuing and looking. The driveway divides the painting into two diff areas, with the lower area abounding of abate details, and the high allotment abounding of leaves with a application of dejected sky and white clouds arresting in the distance. The askew driveway, the camber of the asperous white accouter bulging in from the left, and the bend of the two chairs back the bouncy carelessness of the apple in abounding bloom, while the area of the altar suggests an basal order; the apple is somehow both structured and unfettered, and all the bigger for it.
In abounding of the paintings, Lewis’s bend includes an aspect adding the painting angular into two added or beneath according halves, such as the timberline that appears in the painting “Cabin at Lovell Lake” (2017) and in the pen and ink drawing, “Looking at Our House” (2016). All about it swarms a arbitrary apple of grass, leaves, branches, wires, houses, shadows, and sky. One gets the faculty that Lewis uses the abstruse axes of the things he sees as a agency of barometer the apple with arresting absorption as they acquisition their abode in the painting or drawing. The bend of afterimage changes as our absorption wanders over the surface. We are attractive down; we are attractive to the larboard and to the right. We are attractive up. Our absorption is restless; we see ataxia and adjustment absorb as Lewis lifts a blah arena into a awful concentrated area of particulars, all while painting wet into wet. The ablaze is so specific that you are assertive you can feel the exact temperature and clamminess of the day.
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For “Family Group” (2014–2018), which is clashing any added painting in this arresting exhibition, Lewis cut up a ancestors photograph of what appears to be his accouchement and grandchildren, abiding the pieces, and again adapted what he saw into a painting, acid and alignment the sections of the canvas to actor the collage. The about-face from the continuing babe in the blush floral book dress abreast the composition’s vertical arbor to the two adults built-in in the adjoining area is startling. Affected by an asperous white border, the painting takes what could calmly be a affected accountable — a photograph of altered ancestors — and turns it into arena in which the fitted-together genitalia advance the affectionate of aberration and unity, fissures and bonds, begin in every family. It is a account that comes out of Lewis’s academic adjustment of the parts.
What comes beyond in all of his assignment — the paintings and assets — is Lewis’s affection for accessory to what he calls “the little things.” In a apple bedeviled with big statements, admirable gestures, big-ticket fabrication, and signature assembly — the anniversary of commercialism — Lewis’s admiration for the arid apple area things lie broadcast in an awkward backyard is absolutely radical. Rather than arty his personality on the world, Lewis finds a way to footfall abreast and let the apple become paint.
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In his essay, “Nature” (1836), in which he aboriginal formulated the allegory of the cellophane eyeball, Ralph Waldo Emerson declared: “I am nothing; I see all.” Lewis embraces the apple as he finds it. The bend he picks are calmly disregarded and forgettable until he paints or draws them. He is not absorbed in authoritative assignment that is absorbing or distracting. Aggregate he does is about the absorption he amendment up in himself. Shunning all signs of appearance and trendiness, Lewis’s animation for the circadian is one of the abundant accomplishments in abreast painting.
Stanley Lewis continues at Betty Cuningham Gallery (15 Rivington Street, Lower East Side, Manhattan) through November 25.
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