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Panorama of two walls
Finklea creates small geometric sculptures in painted wood. His concerns are “color and balance,” which he more than achieves Viewing them at eye level and at various points above and below, I felt a desire to touch them. I couldn’t, of course, so the act of beholding them with my eyes became an almost intimate act. Contributing to this sense of intimacy are the sensuousness of the wood—though Finklea told me that some of the pieces started out as scraps from other projects—and the lusciousness of the color, which I’d call saturated pastels of similar value.
The formal concerns of the work keep it from become too intimate, yet the sheer gorgeous of the materials leave the gate open in a way that rigorous reduction does not. It’s a balancing act that keeps the viewer in a state of active equipoise.
For the Will of Persephone #3 , 2012, acrylic on poplar and pine
Left wall: Pelikan for Palermo #4 , 2012, acrylic on birch veneer baltic plywood; Free Falling Divisions #18, acrylic on poplar with plywood backboard
Above, vertical piece closest to floor: Geary Street, 1963, 2012, acrylic on sapele; the two other works on this wall are identified below
Right of door: Turk Street, 1967, 2011, acrylic on mahogany and birch veneer plywood
Free Falling Divisions #20 over Free Falling Divisions #15, both 2011, acrylic on poplar and plywood
For the Will of Persephone #1, 2011
Below: View of these works from the alcove
Foreground: Pelikan for Palermo #5 , 2012, acrylic on poplar; midde: A List of Things We Said We Do Tomorrow, 2011, acrylic on poplar; left: For the Will of Persephone #2, 2011, acrylic on baltic plywood
Below: detail of For the Will of Persephone #2
This work is on the fourth wall of the space, between two windows: Free Falling Divisions #19, 2011, acrylic on maple and basswood, 10.5 x 4 x 3.5 inches