Art Review


The Viewing Room Gallery in the back recesses of the Robischon Gallery (1740 Wazee Street, 303-298-7788) has an intimate atmosphere, sort of like somebody's swank living room. But even though it's small, it's still big enough to present proper shows, such as Entelechy, a good-looking solo made up of recent multi-panel abstract paintings by Denver's Trine Bumiller. The exhibit makes a wonderful companion for Transversal, the main attraction up front, which focuses on prints by Richard Serra and paintings and sculptures by various artists (see page 47).

Bumiller has made her reputation with nature-based abstractions assembled into groups. The individual panels are simple and depict a unified image; one might have forms evocative of twigs, another shapes suggestive of stars. By putting three or more together, Bumiller creates an abstract impression of the landscape.

A special feature of Bumiller's oeuvre is her finishing technique, which involves putting down layer after layer of translucent glazes and makes her pieces very shiny.

Recently, Bumiller unveiled a gigantic installation of her signature works, called "Wood Water Rock," at the Colorado Convention Center. The paintings at Robischon are very closely associated with the ones at the CCC, and that's hardly a surprise, as they were done slightly before and during the creation of the installation. One thing I'll say about the convention center: It may be a civic boondoggle, but it's been a great opportunity for artists to get gigs.

All of the paintings in Entelechy are divided into groups of three. The earliest pieces -- "Either Or" (above) and "Quantum" -- were installed on the room's ledges. These two are the largest compositions in the show, with most of the other works done on smallish, easel-sized panels. On the large wall opposite "Either Or," three triptychs displayed together as a single nine-part piece hint at the tiling effect of Bumiller's installation at the CCC.

Entelechy runs through February 19 at Robischon; "Wood Water Rock" is on permanent display.

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Michael Paglia is an art historian and writer whose columns have appeared in Westword since 1995; his essays on the visual arts have also been published in national periodicals including Art News, Architecture, Art Ltd., Modernism, Art & Auction and Sculpture Magazine. He taught art history at the University of Colorado Denver.
Contact: Michael Paglia