Continuing through May 18, 2012
There is a rich vocabulary connecting the lithographs in “Generalized Section.” Mitchell Marti’s prints resonate with a sense of the underlying geometric configurations at the heart of all organic forms, yet these images are translated to the print medium from computer algorithms. Among the most compelling images are writhing, twisting forms that are, at once, snake-like and industrial, like complex segments of rail.
Some bowl-like imagery shares an affinity with ceramic vessels, but Marti’s work, overall, lies someplace in between landscape and object. The pleasure in viewing them lies in their ambiguity. Concave shapes echo the designs of ancient amphitheaters at the same time they hint of future worlds. The lines converge to become shapes but the shapes never settle into anything specific. All of this adds up to a body of work that edges into the familiar in teasing, thought-provoking ways.
