series is the latest example of Jack Reilly’s continued investigation
into ambiguity of pictorial space in abstract painting. Two-dimensional
abstract surfaces take on visual characteristics of dimensionality as
thousands of brushstrokes are compressed into linear formats on shaped
canvas structures. Reilly's sensual color palette and signature brushwork
acrylic polymers and metallic pigments have
been compared to the complexity of Byzantine mosaics and the luminosity
of Gothic stained glass.
The viscosity of Reilly's paint mixture/concoction results in fluid, wet-looking and reflective surfaces. These densely-polychromed paintings are an evolution of Reilly's earlier shaped-canvas work, incorporating a cross-pollination of painting and sculpture. These paintings reappraise and comment on evolving issues that originated in twentieth-century abstract painting and continue into today's contemporary genres.
"The minimalist tag is a bad fit, or at lease a loose one... it would be more accurately defined as maximal and labor intensive...ascetic action painting." Josef Woodard, Santa Barbara News Press.