Elspeth Walker reviews the exhibition Anoka Faruqee: The Sum is Greater Than Its Parts at Hosfelt Gallery, New York, on view through December 29, 2012.
Walker writes: "Faruqee’s paintings are constructed using 'comb-like notched trowels' that she pulls through wet paint, 'kind of like raking sand in a zen garden.' As the layers of colors interact, they form the optical interference that creates the Moiré pattern. Though the paintings are technically done free-hand, Faruqee’s comb tool directs her designs and makes them appear digitally constructed. The tool creates a kind of rudimentary cyborg relationship that is responsible for the work. However, Faruqee has pointedly left behind many 'mistakes' that become traces of the artist’s presence. For instance, she does not tape off the canvas’ edges and there are places where her paints do not match up perfectly near the edges of her patterns."