Julia Couzens reviews Charline von Heyl: Ten New Etchings at Crown Point Press, San Francisco, on view through January 2, 2014.
Couzens writes that von Heyl "is nothing if not flexible — canceling and subtracting intuitive moves, constructing unstable, open-ended formal juxtapositions into befuddling works that remain in a constant state of flux. We glimpse something almost recognizable before it dissolves into lyrical passages of swooning paint, only to be stopped dead by a flat-footed block of pigment shoring up tumorous appendages. But second looks offer different experiences of the same work. The only constant in von Heyl’s work is its continual renewal. She practices at the highest level, working against type, style and knowing. She interrupts herself and is not afraid to be clumsy, goofy or downright odd. She has referred to her process as 'brutal detachment,' erasing compositions by inserting 'some other element into it or over it, something that refuses to fit until it is a fact.' "