• The Proposition is pleased to present the third New York solo show by Eric Amouyal, inaugurating its new Chelsea space.

    Eric Amouyal’s new brushless paintings at The Proposition: Ellen Donahue and Ronald Sosinski, bring to fruition the artist’s longtime interest in what he has called, “ the intelligence of the material.” The material- in this case, pigment suspended in plastic compounds- spreads generously in waves of bright eccentric colors. As in earlier work, the artist has juxtaposed natural shades- earth, rust, or flesh tones- with synthet ic: chartreuse, shocking orange or Easter egg purple. Often, he deepens the balance by grounding his pallette with primary reds, blues, and yellows of deep chromatic intensity.

    The flow of the paint appears at once accidental and controlled. The poured shapes, which suggest the curves of an hourglass, retain a kinetic liquidity, as they flow and overlap in formal patterns running north, south, east and west. Sometimes, the paint drips beyond the boundary of the canvas, leaving an evenly serrated edge; when canvases are joined, as they often are, the crystallized drips of paint intersect uniformally, like teeth in a zipper.

    In a review of his first solo show at Donahue/Sosinski Art, Ken Johnson of the New York Times, called the artist a “technically inventive painter.” Reviewing his second show in Art in America, Robert Mahoney wrote that , “he has moved from experimentation to mature control of a process.” The process must be a happy one. Amouyal’s new paintings, with their combinations of simplicity and depth, accident and balance, radiate a clarity that suggests both child’s play and the riddle of a Zen koan.