Review: David Menard Fills Point Gallery With Dark and Poetic Evocations of Cities
"To Have and To Have Not," by David Menard.
Urban Grotesque Point Gallery 765 Santa Fe Drive
The current solo at Point Gallery features work by David Menard done over the past few years. Though Menard uses photography -- both his own and appropriated photos -- he was trained in drawing and works digitally, having never used a darkroom.
"Gog," by David Menard.
Using Photoshop, Menard scans photos and then combines them, forming singular images of imaginary scenes. He prints his enormous files at Ron Landucci's Infinite Images, attaches the prints to boards, then coats them with UV-protective resins.
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The results look like photo-based paintings rather than the digital prints they are. Several are dark and moody, like a pair of related works, "Gog" and "Magog," in which Menard's altered scenes of London is the shared subject.
Nearby is "The Atonement," which is made up of transparent views of Denver that overlay each other, so that the tented roof of Denver International Airport runs across the top, with Jonathan Borofsky's "Dancers" standing like ghostly figures in front.
A few pieces look completely abstract, like "To Have and To Have Not," which takes building fronts and turns them into a plaid pattern.
Through November 29 at Point Gallery.
"Erupto," by David Menard.
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