DAVID GIBSON WRITING

The artist’s attempt to define the ineffable qualities that quantify humanness often result in the construction of effigies closely resembling human appearance. How that artist in question achieves his specific effigy dictates the parameters of his intent. In the case of Emil Alzamora we are presented with two recent series: nearly life size ones with a metallic exterior broken up by striated fissures, like those appearing after an earthquake, titled ‘The Initiates’; and miniature ones that have a molten or melted appearance, under the rubric of ‘Supernumerary.’ Both series play off our reasonable expectation that human forms would naturally take an expressiveness of cerebral repose or narrative energy, yet their fabrication hints at forces far greater than organic life itself—the raging furnace inside planets and stars…the dynamo of creation at work.   THE INITIATES reference an accrual of presences that are unusual in traditional representational sculpture. They attain

THE WHITE TRIANGLE (2017) Oil on linen, 24 x 30 inches My reaction to certain kinds of art is sometimes, even unknown to me, historically circumscribed. I see a certain kind of painterly construction and my response is an echo of the same response I had ten years or more ago, when I witnessed a similar image in a gallery or museum setting. Perhaps I now bring to it a greater range of echoes, and over time I develop new language to enrich and aggrandize the nature of my experience. The paintings of Eric Brown fall into this category. His recent solo exhibition, Punctuate, on view at Theodore Art in Bushwick, was a quiet revelation. These overly simple works use color and gaps in space to create subtle tensions. His use of titles expands their impact as metaphors for the human experience, which can be dramatized and quantified with so little apparent industry. Take “The White Triangle” for instance (all works 2017). This painting involves the use of three ar