{"id":328,"date":"2018-05-07T21:51:14","date_gmt":"2018-05-07T21:51:14","guid":{"rendered":"https:\/\/v2.dartmagazine.com\/?p=328"},"modified":"2020-02-24T17:28:44","modified_gmt":"2020-02-24T17:28:44","slug":"phonic-rhythms","status":"publish","type":"post","link":"https:\/\/dartmagazine.com\/?p=328","title":{"rendered":"Phonic Rhythms"},"content":{"rendered":"

Sean Sullivan at Jack Hanley Gallery in New York City<\/b><\/h4>\n
by Gae Savannah<\/b><\/h6>\n
\"Jack
Sean Sullivan, \u00e1 \u00f9ne \u00e9a: No. 1-15, 2018, oil on found paper, dimensions variable<\/figcaption><\/figure>\n

A medley of riffs, measured out and then not. In \u201c\u00e1 \u00f9ne \u00e9a, #1-15,\u201d musical bar lines form initial structures. Wayward marks though, soon follow. Through Sean Sullivan\u2019s guileless delight in clumsy shapes and patterns, a language of flaw emerges. Included are two printmaking matrices, post oil-transfer process. They have a muffled softness, invoking a state of being, deep in non-verbal, right brain. Elsewhere, crisply printed, orange and green fragments embody the buoyant feelings of up-tempo music. Overall, Sullivan\u2019s understatement brings to mind a Jarmusch film (say, Stranger than Paradise<\/i>). Jarmusch forgoes high action, alternately crafting the screenplay out of the uneventful scenes that would end up on the cutting floor of a Hollywood blockbuster. Slowly engrossing like a French film such as Tous Les Matins du Monde<\/i>, this group muses on the quiet satisfaction of making something by hand. Smudges from the rubbing process acknowledged, the work conveys a humanity.<\/p>\n

\"Jack
Sean Sullivan, Sunset (for Albers), 2018, solo print<\/figcaption><\/figure>\n

Another solo print, Sunset (for Albers)<\/i>, presents an elusive chromafield<\/i>. With no lines, just furry, subtlly wandering edges, the wide-horizontal composition feels spacious, expansive. One\u2019s eyes roam, scanning the color chord on the left side, (warm orange\/light Indian Red\/cool orange). We note the smooth, oil-pastel chromahaze <\/i>floating the top layer. Grounding the piece is a dense blue-black area. Its marred surface appears organic like the skin of a whale, bringing sentience to geometric art. Then coming into our awareness is a central coral overlay, which counters any insinuation of broader space or interior architecture. Without knowing it, we are beamed out of the corporeal and into an arcane mental space, a Sugimoto-unreadable theater of the mind.<\/p>\n","protected":false},"excerpt":{"rendered":"

Sean Sullivan at Jack Hanley Gallery in New York City by Gae Savannah A medley of riffs, measured out and then not. In \u201c\u00e1 \u00f9ne \u00e9a, #1-15,\u201d musical bar lines form initial structures. Wayward marks though, soon follow. Through Sean Sullivan\u2019s guileless delight in clumsy shapes and patterns, a language of flaw emerges. Included are … <\/p>\n

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