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Review: Torres, Manzo and Myers at Evan Lurie

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Rogelio Manzo, "Toribia"
  • Rogelio Manzo, "Toribia"

While images of John Lennon abound in pop culture, it’s rare that they dazzle you with their originality. But Cuba-born Alexi Torres’s large scale, oil-on-canvas painting “Positive Thoughts II,” which shows this pop icon composed of white feathers, breaks new ground. Feathers can be seen here as a symbol of the fragile web of natural resources that even pop icons (and the makers of pop iconography) are dependent upon.

Painter Rogelio Manzo’s portraits, on the other hand, express the tormented inner lives of his subjects. His oil on image transfer technique may have a 21st century sheen, but you can clearly see the influence of Francis Bacon here. Check out his “Toribia,” a zombie-like portrait of a young girl.

Locally-based artist Jason Myers also adds a number of his paintings to this show. Myers’ most frequent subject is the male nude. His subjects’ features are obscured, as if in silhouette, or rendered in a semiabstract style with thick blotches of oil paint in bold colors. If the examples of his work here fail to draw you in, it may be due to the insular stances of the subjects in his paintings.

Myers's “The Templar,” however, stands out from the others with its loose, vigorous strokes of color. This painting seems to take a tentative step away from a style that Myers has been absorbed with for over a decade and that seems to have become a little rigid over time. At Evan Lurie Gallery through Feb. 8.

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