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Lynn Sures at Gallery K - Washington, D.C
Art in America, Feb, 2003 by Joe Shannon
Lynn Sures's work has always been constructed with paper that she makes herself, whether creating two-dimensional pieces or reliefs. This recent exhibition was the breakthrough show that many of her admirers had been anticipating for years. Titled "Particolari," it consisted of wall-mounted reliefs, handmade-paper paintings and monotypes based on memories of travel through Italy. Not that her previous shows were not of the highest quality--they were. However, this one reached a new level, manifesting the comprehensive sweep and power often predicted by earlier efforts.
Ravello (2002, 45 by 62 by 12 inches), a cast-paper relief, offers a stunning aerial view of terraced hills sweeping down to the thundering sea. In the past, the suggested landscapes were rendered in low relief. Here, all the works were far more sculptural. Ravello reads as a gorgeous diorama--a chunk of our planet, extracted and recreated in high relief for our awe and wonder. In a different vein, Tetto (2001) is a forceful architectural relief of modeled roof tiles seen from above, richly patinated in reds and blues. Constructed of angles, it is gritty, abstract and strong.
Many of the works are humorous. Sures must have had tongue in cheek when she contrived Ghirlandina (2000), a cast-paper relief of an old, crooked, leaning tower, wonderfully abraded and polychromed. It looks like it was made for a children's book. As does Villa Adriana (2001), in which six awkward and drunken columns hold up a dipping roof. Both are indicative of the variety and richness to be found at every turn. The 46-by-34-inch painting Parete (2000) presents a wild variation on a Classical interior. A column supports a disk surrounded by oval patterns, dancing below an arch. Sures's exhibition was both inspiring and amusing.
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