Page 25 - Studio International - May 1965

The new abstraction on the West Coast U.S.A.

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glass. He works by choice in this most intractable and tradition, he has also been an important influence. He
unco-operative of materials and has had to invent a works within an obsessive repetition of a single image;
whole series of involved techniques to structuralize this an egg or hump shape with vitreous arms or fingers
difficult material. In contrast, Delap's structure-making emerging through the orifices of the gaudily coloured
process is externalized and takes a form somewhat like outer case; the colour is closely knitted into the outer
that of a double faced clock. He combines the sensuous skin and appears to pulsate from within. Close to the
sheen of various materials such as aluminium and glass orifices are placed a painted schemata of biomorphic
with stepped areas of saturated paint. Both Lloyd forms delineated in sharp crisp outline. Unlike flat
Hamrol and Judith Gerowitz work in a polychrome forms on a flat canvas. these shapes curve around the
frontal sculpture with overt biomorphic references­ shell. changing shape with the viewer's position. It
sprayed colour is used to deny the bulk and weight of raises for the artist critical problems in his endeavour to
sculpture. Two younger artists are Ron Davis and relate these forms to the overall curved shape.
William Reynolds. whose work is concerned with What can be observed. then, within this group of
quotation and parody. They are part of a new wave of artists that has so recently emerged on the West Coast
younger artists emerging from San Francisco. of America. is a recreation of the spirit of the central
One of the most unique and extraordinary of artists is tradition of twentieth century art-what is new is the
the sculptor, Kenneth Price. Totally uninhibited by possibility of doing this in California. ■
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