Along with his work as asound artist, Gaudynski’s interest in improvisational music permeates thesedrawings rendered in black and red ink on rag paper. The images are similar tocontemporary, offbeat postcardspart picture and part textand are derivedprimarily from fragmented literary references. With excerpts from writers likePulitzer Prize-winner William Carlos Williams and Jon Erickson (specificallyhis paper titled “The Event: Presence and the Promise of MeaningfulExperience”), the drawings juxtapose words with representational images.
Poetic qualities graceGaudynski’s series Self-Plagiarism I, II,and III, creating visions of angelic muses, musical staffs and violins.Several repeating images connect the drawings, though the context remainsfresh. Translucent ink permits the layering of images and print, which lendseach drawing interesting variations and multiple meanings.
Woodland Pattern’sgray-walled gallery complements Gaudynski’s artwork by framing the warm whitepaper and emphasizing the black and red pigments in a serene atmosphere. Theexhibition’s drawings require a slow, studied viewing. Appreciate the nuancesand interrelationships between the ideology and imagery in these surprisinglycomplex drawings shared from a scholar’s heart.
Correction: Last week's review of the PortraitSociety Gallery's "Real Photo Postcard Survey" incorrectly statedthat one of the subjects had died.
