Review of my exhibition at Bridgette Mayer by Edith Newhall.
Philadelphia Inquirer Weekend section
Friday, June 15, 2007
Since his last solo show at Bridgette Mayer Gallery two years ago, Tim McFarlane has abandoned the open, three-dimensional grid forms that inhabited that last body of work for a looser, all-over lyrical abstraction that looks vaguely like strands of chains or fishing nets over a gestural abstract painting. He has also jettisoned the square canvas for the rectangular one, which suits his style of painting better. The action seemed to stop short on the square.
A few of these paintings are just perfect, in particular Plume, with its exposed lower corner of a muscular, vividly colorful underpainting, drips and all, which made me think of the painter Melissa Meyer. His small paintings, Mute and Green Whispers, which have thicker, lusher surfaces than some of the large ones, hint at a depth and mystery that are too obscured in other works.
But I'd also like to see an enormous McFarlane. He seems to be stretching out.