Haiku Reviews: Abstraction, Walter Pater And QR Codes (PHOTOS)

HuffPost Arts' Haiku Reviews is a weekly feature where invited critics review exhibitions and performances in short form. Some will be in the traditional Haiku form of 5x7x5 syllables, others might be a sonnet or a string of words together. This week Peter Frank and John Seed give quick takes on visual art. Is there a show or performance that you think people should know about? Write a Haiku with an image and shine a light on something you think is noteworthy too.

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YVETTE GELLIS, Sylmar, 2011, Mixed media on canvas, 108 x 168 inches WHAT: Garboushian 427 North Camden Drive Beverly Hills Through Aug. 27. HAIKU REVIEW: Yvette Gellis determines an unsettling condition in her paintings, one in which a clearly urban environment becomes so taken up by its own dynamism that it begins to disintegrate. Perceived space warps in and out, elements of architecture and function become vehicles for disorientation, and the world becomes a fever dream at once exhilarating and frightening, a continual cascade through light, paint, and maddeningly familiar but never clear form. Dependent on the brushstroke, on purely structural terms Gellis' work is almost abstract expressionist; lord knows there are enough passages of pure painterly virtuosity. But the representational - specifically urban - references are so insistent, and the rendition of depth so convincingly vertigo-inducing, that it's impossible to describe these often huge canvases as "abstract" at all. Whatever else they are, they are quite a ride - and not only for the eyes. - Peter Frank

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YVETTE GELLIS, Sylmar, 2011, Mixed media on canvas, 108 x 168 inches

WHAT:
Garboushian
427 North Camden Drive
Beverly Hills
Through Aug. 27.

HAIKU REVIEW: Yvette Gellis determines an unsettling condition in her paintings, one in which a clearly urban environment becomes so taken up by its own dynamism that it begins to disintegrate. Perceived space warps in and out, elements of architecture and function become vehicles for disorientation, and the world becomes a fever dream at once exhilarating and frightening, a continual cascade through light, paint, and maddeningly familiar but never clear form. Dependent on the brushstroke, on purely structural terms Gellis' work is almost abstract expressionist; lord knows there are enough passages of pure painterly virtuosity. But the representational - specifically urban - references are so insistent, and the rendition of depth so convincingly vertigo-inducing, that it's impossible to describe these often huge canvases as "abstract" at all. Whatever else they are, they are quite a ride - and not only for the eyes.
- Peter Frank

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