Landscape. John Marin. An extremely, modestly-scaled picture that suggests a greater whole, the vast. Friedrich without the human figure. Here, a domestic building void of activity stares blankly toward and from the horizon, partial to the sky in amount. Each door/window is the frame within the frame which alerts the viewer to the game, the game I have chosen to play by photographing each door and window detail in order to not only enjoy the intimacy of carefully appointed brushstrokes, but also to think about histories since Marin. Rothko springs to mind next (but only in structure); this is a tough one, because landscape painting of this kind tends to find its way to shops and stands in beachside communities. By context (contemporary, urban art gallery) and installation strategies (the paintings themselves spread spare throughout the viewing space like tiny little portals), I can also read Gallace's work as multiple layers of the ongoing questions surrounding flatness/depth, doors and windows. The painter's obsession with light (broad strokes and smaller dapples) continues.
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