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.