Andrianna Campbell reviews an exhibition of works by Bill Lynch (1960-2013), curated by Verne Dawson at White Columns, New York, on view through October 25, 2014.
Campbell writes: "A lambent quality suffuses Bill Lynch’s mostly untitled and undated paintings on scavenged plywood, executed during the last thirty years of his life. A furtive incandescence hovers inside them. Euphorically ambiguous, in the same breath they celebrate Chinese Ming dynasty flower-and-bird compositions, which hold complex symbolization and interior resonance, and Mesoa-American shamanistic burial textiles. In the former case, heavy impasto eclipses the lyricism that we associate with the genre, likening them more to the Chinese modernist tradition of Zhao Shaoang, whom Lynch admired. Floral and vegetal forms hang next to spiderwebs; lurking monkeys, twisted trees, and blue-and-white porcelain flirt with both aesthetics and affliction... his perspective is tremendously invigorating and unusual. In his renditions, the rectilinear surface becomes a place of close-looking at paint, at the uncompleted stroke, and of considering spiritual meaning in a contemporary world."