Romeo Savoie

I arrived at Ingrid Mueller'a Gallery in time to see the packing blanket about the Jean Rooney electric night over and along the Dublin Liffey.

For a while I sat filling note cards before Romeo Savoie's layered diptych, Fan IV. The the pair that form a companion diptych for me: two multi-media on paper, one with flowing black strands, almost a complex Kanji on a fond of rose and yellow with a grey-green, almost carrés, on a dull red, almost the pastel aurora of Fan IV, but there a palette knife left only edges of ochre  — and next to it, the "action" of whites and white-grays, a red stippling on grey.  Nearby, on a table, stood the small "untitled diptych" in a black frame two six-by-eight inch canvas panels, each dominated by white brush strikes, the inverse of Kanji, one over reds, one over a yellow stencilled beginning of an alphabet. The latter, a Kanji morphing from white to black through Möbius twining, twists from black to white.

The great Philip Iverson portrait of Elie Wiesel was not available in the gallery.  I did not ask to see the carmine and emerald piece.

Fan IV may be dripping stove paint from what appears embossed gold but what is, on canvas, an overlaid piece, divided, occupied by arachnoid figures, mirror of a figure. (See: Mirrors of Gold.)  The great blinded Zeiss Teleskop of the Sternwarte of Zürich has no gold mirror.

Fan IV may be dripping stove paint but a palette knife was at work, as was such a tool in Art McKay's Effulgent Image, also seen here.