Westfall stays true to his love of planar geometry, while finding ways to undermine all traces of predictability and stability.
Stephen Westfall seems to be the geometric painter who cannot do variations on a motif, which gives his work an interesting twist.
Ten years ago, in an interview that I did with Stephen Westfall, he said that he was interested in a skewed grid because it looked as if “the whole thing could tremble and be knocked over.”
I went to Stephen Westfall’s exhibition, Jesus and Bossa Nova, at Lennon, Weinberg (November 7, 2013–January 4, 2014) twice on the same day. The second time I walked through the gallery’s long narrow space verified my initial thought, which is that the layout of the exhibition could be read as a narrative that revealed Westfall’s movement from pattern and repetition to a far more complex and engaging compositional possibility.
I’m not sure Lateralism, a small show curated by artist Matt Wycoff bares out by the premise put forth in the press release, which promised to assess “a slice of the ever-shifting boundaries and implications of post minimal painting and sculptural installation,” but the exhibition at The Hogar Collection is definitely a wonderful installation of six works by four artists that look great together.