Lisa Radon writes:
The title of Portland-based painter and printmaker Laurie Danial's most recent exhibition at Froelick Gallery, "Control Release Control" also gets at the pith of Danial's process-based studio practice. Of this negotiation, Danial says, "I approach it from a place of not knowing where I want the work to end up. So there is a balance between intentionality and happenstance, between controlling the work to a point around formal issues but knowing when it's time to back down."
Regularly lauded by critics, Danial's oil paintings are loose and exuberantly colored compositions wherein the organic and the architectural, the strategies of graffiti and Twombly, coexist. Stone, structure, and stump make appearances, but the real visual story is in the complex blending of her juxtaposed and layered forms and often semi-transparent fields, giving the paintings a feeling of temporality, a measurement of time. Indeed, Danial will often work on a painting over a long period of time; a year is not unusual. Thus, she offers that she sees her painting as "a chronicle of my moments in time and space," or a "diary of mark making." In addition, she is not averse to visually quoting from earlier works. In making her most recent prints, Danial reused plates, layering, almost at random, images of some of the hundreds of drawings she made during the process.
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