The attached objects can recall David Salle, except they tend toward industrial. His big brushes, propensity for big scrawled words and grandiose show titles can evoke Julian Schnabel. And, like Schnabel, everything he touches seems to gain a certain visual presence, whether you think it’s finished or not. In “Cloud 1,” “Cloud 2” and “Cloud 3,” weighty, magnified strokes of cement on expanses of Hermès yak-wool blankets dare us not to think of them as paintings.
In “U the Wettest,” a larger than life Black woman wearing big daubs of green, yellow and orange seems to dance hip-deep in blue water. Two steel drums attached to the work’s upper corners add to a sense that this loosely conjured image could simply, rhythmically, dissolve. See this show, but if you miss it, Barrington will be back.
