Rodney Carswell

Rodney Carswell is an American abstract artist. He first gained recognition for human-scaled, geometric paintings that feature exposed, projected support structures, creating interplay between sculptural presence and richly painted pictorial surfaces. His recent paintings eschew the superstructures and evoke a greater sense of immediacy, playfulness, and narrative. Critics often describe Carswell's work as uncanny, elusive or quirky, for its tendency to negotiate "in-between" spaces and embrace contradictions such as order and instability, intention and accident, or back and front. Employing irregularly shaped canvasses, thick supports, and openings or holes that reveal the stretcher construction and walls behind them, works like 3 (1994) often occupy a place between painting and sculpture. In a similar way, Carswell uses the modernist languages of Minimalism, Suprematism and Constructivism, yet eludes those categories with postmodern allusions to architecture, the body and spiritual iconography, and with his process-oriented, "hand-made" surfaces. In his essay for Carswell's mid-career retrospective at Chicago's Renaissance Society, Los Angeles Times critic David Pagel suggested that his understated paintings worked their way into one's consciousness in a "supple, somewhat unsettling manner" that achieves a subtle, but lingering shift in perception.