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  • Source: New York Magazine
  • Author: JERRY SALTZ
  • Date: May 13, 2018

Pay attention to this live wire

Three-Sentence Reviews: John Bradford’s Electricity, David Hockney’s Ephemeral Color, and 11 More Shows

Keltie Ferris, I O, 2018. Oil and acrylic on canvas, 96 by 77 1/8 inches. Courtesy the artist and Mitchell–Innes & Nash, NY.

I’ve been a fan of Keltie Ferris’s hot Day-Glo spray-painted, structured, multi-matrixed large paintings since she emerged fresh out of Yale’s MFA program in the mid-aughts. Always to be counted on for pushing the perimeters of her intensely optical abstract paintings, this show finds Ferris, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, leaving severe spray-painted black lines as structure. The results are less lively, even, and visually arresting than her previous work, and they fit more into a tradition that might include Fiona Rae, David Story, and Guy Goodwin — artists more dependent on visible structure, clearer geometry, and deploying a menu of marks and configurations on canvas, all to lesser effect than Ferris has already reached — but I will not stop paying attention to this live wire.