CHRIS SASSER
Because each anthropomorphic being is the focus of attention inside its own canvas, the four pieces work together as a sort of portrait series. The sarcasm here is heavy and humorous. All four beings have the same intense, driven expression worn by attacking predators and social climbers. The flower chains of paint “frosting” seem to point to the ambition that characterizes the mainstream art world, in which art is often made and purchased as a tasty confection. The portrait format makes one wonder if the artist had anyone particular in mind as he painted these pieces.
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The other large composition is not nearly as accomplished. Its strongest point is a pleasing color scheme that pushes beyond the monochromatic tendencies of the other pieces. Conversely, the paint handling here is much looser; compared to the other pictures, it borders on the sloppy. Most of the expected elements are present–the large organic beings, the squiggles, and the sweeping gestural brush strokes–but they are not rendered with Sasser’s usual control. The huge violet creature and its two smaller companions somehow lack painterly elegance. Nor do the squiggles coming from their left sides articulate propulsion as powerfully as we have come to expect. In addition, a couple of new compositional details seem gratuitous. These include several forest green rectangles of various sizes scattered around the picture. And in two areas the artist has pushed light blue pigment into sumptuous but puzzling grid patterns. The light green background sets off the other colors beautifully but can’t make up for the lack of tension in the passive organic forms that take up most of the composition.
