Eddie Martinez Has An Eye For The Abstract at Half Gallery
by: Kate Messinger
At first glance, Eddie Martinez’s large, charcoal smudged, paint splattered drawing looks like a discarded abstract combination of shapes, a piece left on the floor of a studio and later salvaged out of sentimental value. These pieces are in no way pristine (there are even remnants of a shoe print on the paper), but the lack of rigid structure should not be confused as a mess. It is the eye, a reoccurring image in Martinez’s solo show “Studio Drawings” at Half Gallery in New York City, that bring a human quality to the abstract chaos of the work. Glenn O’Brien, a writer on art and style at GQ and a voice in the up-coming book on Martinez’s drawings describes the artist’s practice as “a sort of instinctive shamanic negotiation on the part of human nature with the absurd yet unavoidable constructs of monstrous unconsciousness.”
Writer and co-owner of Half Gallery, Bill Powers, describes the show as “a shorthand for an almost pyramidical silence which Eddie’s paintings demand from the viewer to be seen in full.” Martinez’s “Studio Drawings” brings the reality of the often chaotic, abstract nature of working in a studio to the public eye without trying to cover the imperfections. He shows his art as work, smudges, shoe prints and all.