|
|
|
|
|
|
|
|
|||
|
|
|
|
|
||||||
|
|
|||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
<< Return to list of essays and reviews
The Philadelphia Inquirer, December 27, 1990 Sculptural studies in space and movement By Edward J. Sozanski, Inquirer Art Critic Fritz Dietel's sculptures in the McKinney Gallery of West Chester University wrestle with a basic problem: how to transform a static object made of rigid material into one that suggests movement. His solutions, put forth in these 11 pieces, take two forms. Some sculptures extrapolate form a simple spiral -- in several cases, the "spiral" is just a single twist. Other, larger ones assume a bulbous form, composed of projecting fingers, that suggests an incipient spreading gesture, like a flower about to unfold. The sculptures come in various sizes, from large floor pieces like Polar Star to tabletop ones. The largest is Spellman, two curved and pleated walls that form a partial enclosure. It's a massive piece that makes a much stronger impression in an outdoor setting like the Fairmount Park arboretum, where it was seen several years ago in the annual outdoor show curated by Marsha Moss. Ten of the sculptures are made of wood finished with glossy enamel or epoxy surfaces; the other is a small bronze. Except for several patches or wood that Dietel has left exposed for aesthetic effect, the nature of the material isn't a factor; instead, the viewer becomes involved in form, color and gesture. In every piece, that dialogue involves an interplay between interior and exterior, between encirclement and the negative space enclosed. Color plays a major force in this exchange: The exteriors are usually dark, the interiors light or bright. Texture does, too: One often finds a contrast between smooth and rough. At their heart, though, these pieces speak through there forms. They're all abstracitons, in that they don't represent anything in nature, and yet two of the smaller ones can be read as vaguely figurative. The "bulbs," with their fingers reaching out from a central core, suggest exotic blossoms. Dietel is a conscientious craftsman; the pieces are beautifully made and finished, and the minor-key colors are lustrous and luscious. The best works, like Polar Star and a similar piece called Cutout, emanate an animated spirit that seems incongruous for such uncomplicated, basically symmetrical forms. Even the largest pieces feel delicate; they rest lightly on the floor, as if they were about to levitate. They establish a powerful visual presence in the gallery, which is ideally suited to showing them off. Dietel, who lives in Philadelphia, has been making steady progress in his work over the last several years, although he always seems to be showing out of town. In this, his most impressive show to date, he demonstrates that he's ready for prime time. McKinney Gallery, Mitchell Hall |
|
|
|
|
|
||||
|
|
||||
|
|
||||
|
|
||||
|
|
||||
|
|
||||