Liam Gesoff's chromatic layering calls to mind the all-over compositional logic of late Monet, yet here the insistent horizontal striations across sky and grass assert a flatness that Clement Greenberg might have celebrated as painting honestly confronting its own support. The brown ovoid forms climbing the trunk introduce a biological uncanniness, while scattered red fruit - both aloft and fallen - proposes a quiet cyclical argument about growth and decay that the grey fence below barely contains.
Liam Gesoff's chromatic layering calls to mind the all-over compositional logic of late Monet, yet here the insistent horizontal striations across sky and grass assert a flatness that Clement Greenberg might have celebrated as painting honestly confronting its own support. The brown ovoid forms climbing the trunk introduce a biological uncanniness, while scattered red fruit - both aloft and fallen - proposes a quiet cyclical argument about growth and decay that the grey fence below barely contains.
- Curatorial note, wifärt gallery