Neil Marshall 05.05.06

neilmarshall.com

The recent exhibition of small works by Robert Melzmuf at the 20/20 Gallery may have created a mis impression that work in this format is his primary focus. That is not the case. Due to space restrictions which are severe in this small storefront gallery none of the large paintings could be shown, nor any of the prints (the woodcuts in particular are exceptional), and none of the sculpture. Even his large series of ink and watercolor All of the World could only be glimpsed by a few examples from a series that numbers some two hundred works. Melzmuf’s great gift in his artlessness and the best of the All of the World series are simply a circle of watercolor overlaid with a circle of ink-or vise versa. The few exhibited here were relatively too calligraphic. It is the simplest, least intended shapes that his originality is revealed. Something analogous afflicted the choice of small paintings in the exhibition. Approximately half were overworked simply in the sense that he stopped to late, or intended too much. Having said that, the rest of the show had a marvelous intuitive rightness to it. These paintings are clearly post Hofmann but they seem to have learned something from Twombly consciously or not, and from art informel in general. They are heavily worked but not impastoed since so many applications of hue are scraped away, creating a subtly loaded shallow space of -at their best- indeterminate hue. If only one or two of Melzmuf’s sculpture’s could have been placed in the show another level of sensibility would have been revealed. These are relatively small works of exquisitely stacked found stone and wood. Again, the ability to achieve art by the most artless means results in intimate work with a clear but elusive meaning. There is real courage and dedication here in speaking quietly and eloquently while most of the competition is shouting itself hoarse and saying nothing.