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拍品专文
Appropriately linked to the "Hard Edge" school of painting, Leon Polk Smith was a mentor among the unofficial group consisting of Ellsworth Kelly, Myron Stout, Robert Indiana and Jack Youngerman to name a few; many, including Polk Smith, were neighbors in the Coenties Slip area of New York. There was an affinity among these artists for the expressive power of color, line, edge and an economy of form; a reductivist vocabulary that employed such devices as scale to produce paintings that were reflexive and bordered on the sculptural.
Initially inspired by the work of Piet Mondrian, Polk Smith pushed beyond the theosophical rigidity of Neo-Plasticism, daring to introduce curvilinear forms to produce an altogether new and invigorating hybrid. Indeed there are few artists initially inspired by Mondrian other than Polk Smith and Alexander Calder that were able to produce such unique and impressive works that were not in the least bit derivative of the Dutch master.
In Constellation Edge of Sight 2 Ovals No. II, 1973 Polk Smith takes a leap into unchartered territory employing two oval shaped canvases precariously balanced one atop the other. Polk Smith proves with this work his mastery over the perceptual and phenomenological; he creates a stimulating visual phenomenon that dances the eye between concrete form and a much larger circular gesture that sweeps off of the edge implying a nearly limitless sense of scale.
Initially inspired by the work of Piet Mondrian, Polk Smith pushed beyond the theosophical rigidity of Neo-Plasticism, daring to introduce curvilinear forms to produce an altogether new and invigorating hybrid. Indeed there are few artists initially inspired by Mondrian other than Polk Smith and Alexander Calder that were able to produce such unique and impressive works that were not in the least bit derivative of the Dutch master.
In Constellation Edge of Sight 2 Ovals No. II, 1973 Polk Smith takes a leap into unchartered territory employing two oval shaped canvases precariously balanced one atop the other. Polk Smith proves with this work his mastery over the perceptual and phenomenological; he creates a stimulating visual phenomenon that dances the eye between concrete form and a much larger circular gesture that sweeps off of the edge implying a nearly limitless sense of scale.