Excerpt from full review;
Gill at Triple Base: Bryson Gill's paintings and sculpture at Triple Base wryly represent artworks as forced into exposing their internal strangeness by their peculiarly weak position in contemporary visual culture.
Gill's "Cosmo (backdrop)" (2009) presents pictorial space as a sort of decorated stage curtain. Torn along its top and right edge, it exposes another backdrop, behind which hangs another stage curtain - the canvas itself.
Of course not, because the stretched canvas implicitly veils other conventions that cause us to accept artworks in the forms they take.
Gill's plaster-over-foam sculptures, like his paintings, induce a knowing smirk, but an affectionate one. Contrary to first impressions, his project slowly reveals itself as a defense of artworks against the cynicism of much recent art theory.
