Among the concepts to which they (and now, Solomon) were keenly attuned, consciously or no, were things like Rudolf Steiner’s “Theosophical drawings” of “thought forms,” as he called them. Solomon’s characteristic markings – quivering orbs, projectiles, and such – are easily apprehended as wafting, evanescent “thought forms”.
Imposingly large and fantastically — immodestly — pink, The Schmoopy Painting occupies a wall to the immediate left of the gallery’s entrance. It’s dominated by a group of shapes nestled into and around a softly rounded, pale pink object. Other forms hover just outside it protectively, as if orbiting their home planet.
Solomon, asked about the “sublime,” says he defines that as “honesty” – an answer that might suggest the younger-generation abstract painter is also smitten with metaphysics, just as a new abstract religion where the social virtue is authenticity.
Prehistoric petroglyphs scattered throughout the landscape in the environs of Santa Fe have certainly informed the artist’s work. Consciously or not, Solomon’s paintings share their sprightly yet numinous qualities.
While Solomon’s paintings have long exhibited a disarming sense of vulnerability, plumbing strange depths and emo-spaces one isn’t used to seeing exposed, this time out they also have a new structural integrity and an interplay with volumetric illusion that wasn’t as evident in the flatter, more graphic pieces of the past.
Solomon captures a feeling of the movement of life on two levels: one molecular and the other macrocosmic.
In his evocative abstracts, David Solomon brings forward his personal synesthetic metaphors – making, as he puts it, “the invisible visible.”
For nearly a decade, David Solomon has been assimilating the fresh air, extraordinary light, and magical visual spirit of Santa Fe. He has meticulously mixed these inspirational components together, producing remarkably simple and well-balanced works which seem to celebrate his unique style and sensibility for organic shapes that are locked together within rhythmic and often colorful compositions.
David Solomon’s organic forms on aluminum rounded out the great showing of these talented Santa Fe artists.
The artist’s forte is the depiction of space without defining it. As he puts it (more or less), he likes to suggest dimensionality without showing it, thus enticing the viewer to engage. Once the vocabulary of lyrical abstraction and symbolism emerges, the playfulness of the forms becomes clearer, while their significance deepens.
Relating abstract painting to jazz music is a cliché for sure, but I couldn’t help think of how apt the comparison is here. Like instrumental music, Solomon’s compositions exist in the nonverbal realm of consciousness.
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