Joseph Walentini, Abstract Art Online, October 22, 1999

Two exhibitions come out of Chelsea this week that are at complete odds with each other. The first is a sophisticated exploration of color and texture. The second offers a 3D figuration that is industrial raw in its approach. The one meeting place of these two shows is that they both contend with illusion, though from different perspectives.

Ravenna Taylor
This well-presented exhibition includes paintings from 1996 to 1999 that range in treatment of color and forms from reductive to colorfully complex. The reductive side is most often found in the earlier paintings though not exclusively so. The show is a bit uneven, as especially evidenced by a painting called Transmigration. This piece falls flat when compared to more electrically charged work. Then too, she edges close to pure design at times, but never does cross that line.

Yet, Taylor hits some tremendously high notes with paintings like Avowal, Transilience and Cadence 2. These works visually sing out with color, texture and form. Avowal effectively uses drips running in different directions to establish texture. The drips nevertheless remain true to each of the straight edges of the canvas. Transilience is a warmly colorful painting that incorporates many of Taylor’s older forms, while adding in some rounded-edged shapes. Then there is Cadence 2, which is distictly reductive when compared to the other two. Even so, this painting counters the reductive nature of its forms with its peppermint pastel, soft pinks, purples, bright red and earth tones.

One of her major themes is creating a sense of playful illusion. In some of the paintings you wonder if she is literally depicting windows and curtains (as in sheers). Then you realize it’s really just transparent white paint and drips. Taylor appears to be making some very realistic abstract paintings by exposing the illusion in the presentation and application of paint.