My main gripe with Michael Abramowitz’s current show at Cardoza Fine Art is that it leaves me wanting more. Each painting could be a series, and I want to see Abramowitz exhaust the possibilities of his language of symbols, to tease out all the meanings.
Abramowitz creates a textured depth that pulls viewers into the composition, into spaces between the fields of color–layers of tissue paper and pigment–where tribal prints depicting animals and abstract forms swim with words and prisms, mouths and hands and demons, icons and pictograms–all beneath a waxy sheen.
One thing you’ll notice is that his hand is decisive, his lines are solid and unwavering, and his palette is all over the place.
A few might be too busy.
“The Future is silent till we get there” does the opposite of the above–here Abramowitz isolates some of his gross, background moves–primary color drips from saturated brushes with a rag and some cassette tape pieces buried beneath.
I have been hearing the legend of Michael Abramowitz for a few years now. That, as the press release claims, his “work lies loosely between Chopin and Andy Kaufmann.” I don’t really know much about Chopin, so I’m not qualified to judge that statement, but the best paintings in this show give me a lot to look at, and I feel like I could look at a lot more in the same vein.
Unseen Sounds w/ special guests Empty Audience, new works by Michael Abramowitz, is on view at Cardoza Fine Art through August 21.