Overview
"Gene Davis with points," is how one painter described James Little's new body of work, De-Classified: New Paintings at the June Kelly gallery. He was joking, of course. Davis may be a visual antecedent, along with Barnett Newman and maybe Kenneth Noland, but I'd describe Little's new work as "Geometry with finesse."
Here is an artist who's making hard-edge paintings with a soft material, oil and wax in an encaustic-like mix, and making it work. Over and over again. He has combined lushness of material with preciseness of image. And he's working large. As someone who paints with wax, I can tell you that this combination of hard and soft, in large scale, is no easy achievement.
Formally, these resolutely abstract paintings would seem to be about figure and ground, or more precisely about the ambiguity of figure and ground, and thus about the ambiguity of space, and about color and control, flatness and expanse. And certainly about chromatic rhythm. In these paintings, sawtooth elements are placed in side-by-side in discrete segments (occasionally a Davis-like band of stripes changes the visual cadence). As the angles of different colors, sometimes near complementaries, slide into one another, a mirage-like shimmer hovers over the surface. It's in no way Op in the manner of Bridget Riley, but it is retinally invigorating.
Little's paintings are technically virtuosic and visually ravishing . His palette, saturated and opaque, has just a touch of white. It's far from pastel, yet there's an alluring softness to it.
Little's paintings are technically virtuosic and visually ravishing . His palette, saturated and opaque, has just a touch of white. It's far from pastel, yet there's an alluring softness to it.
— Text courtesy of Joanne Mattera
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