“Carrie Seid’s Magic”
By Alan G. Artner
Carrie Seid’s wall pieces at the R. Duane Reed Gallery successfully occupy a zone between painting and sculpture, which may sound a little old-fashioned but, for an artist interested in visual as opposed to conceptual impact, is still an interesting place to be.
All the pieces are of plywood, copper and silk. The plywood supports linear designs in copper that give the third dimension to stretched- taut silk. Some of the supports are in the shapes of a cabochon or piece of fruit; others are close to square, suggesting the pages of a book. The copper designs are additionally painted to give special luminosity as light enters through the colored silks.
Practically speaking, that says it all. But the effect of the pieces is magical, less a matter of nuts and bolts than something ethereal like smoke. The organic forms suggest both early modern abstraction and feminist images of abundance. But each piece evokes both at once, as well as a number of other luminous associations including some with California light-and-space artists from the 1970s.
The artist, who has taught in the fiber department of the School of the Art Institute of Chicago, has exhibited for a decade. Polish of execution was sometimes lacking. Here, however, she was surpassed earlier efforts. Nothing gets in the way. Several pieces are as unimpeded in their optical impact as slices from the moon or sun.
At R. Duane Reed, 215 W. Huron St., 312-9329828, through April 21.