Trevor Winkfield’s modestly scaled acrylic paintings abound in puzzling, private symbols.
“Ordinarily, I feel a sense of solidarity in isolation with other artists. I feel it even more during our enforced isolation.”
Winkfield’s combinations of forms are inexplicable, a seamless fusion of the sinister and innocent.
For Collage as Painting, Kate Abercrombie and Trevor Winkfield look at mysterious, esoteric, and sometimes troubling aspects of everyday life.
It must be summer. There are group shows galore all over Manhattan. This is when you get to discover new artists, get enthusiastic, become disenchanted, fall in love, fall out of love, all of the above, and none of the above, in one day, and still have time to sit back and read a book of poems in the evening.
The expressive quality of collage across all manner of media, from literature and music to the visual arts, came to mind while viewing Rough Cut, an exhibition at Morgan Lehman Gallery.
While visiting Philadelphia a number of years ago, the poet and critic Wayne Koestenbaum asked me “Is Trevor Winkfield a real person?”