MICHAEL ANGEL

Michael Angel has called New York home for sixteen years—there is something dislocating about the images in this show. This sense of being unmoored is due not merely to the veiling effect of Angel’s palette knife technique, developed in earlier series to the point of total abstraction. While his methodical scraping of the canvas does serve to obscure and distort the figures by means of a distancing, screen-like grid that recalls his earlier work at the forefront of digital textile design, it is the figures themselves that do not easily settle into a narrative of comforting domesticity. Neither do they serve to orient the author for us by naming and describing his point of origin.

Michael Angel has called New York home for sixteen years—there is something dislocating about the images in this show. This sense of being unmoored is due not merely to the veiling effect of Angel’s palette knife technique, developed in earlier series to the point of total abstraction. While his methodical scraping of the canvas does serve to obscure and distort the figures by means of a distancing, screen-like grid that recalls his earlier work at the forefront of digital textile design, it is the figures themselves that do not easily settle into a narrative of comforting domesticity. Neither do they serve to orient the author for us by naming and describing his point of origin.

UNTITLED 28 (SERIES III)

BUDDHA

DRAGON

THE SMOKER

MAO

SNAKE

UNTITLED 6 (SERIES I)

CONFUCIUS

MONKEY


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