Review: Rachel Ritchford's Future Days 

  • Rachel Ritchford, untitled, from 'Future Days'

New York/Berlin based artist Rachel Ritchford's current body of work "examines the phenomenon of geometric abstraction as a metaphorical interpretation of psychedelic and entheogenic experiences," according to the text for the exhibition, which shares its title with spacey krautrock band Can's album Future Days.

The paintings do, indeed, have a washed out, drug-induced aura. A sense of wonderment and bliss is skillfully embodied in the show, which consists of seven oil paintings that vary in size and color palate, all but one featuring a landscape.

Ritchford's focus is always on the sky, which is then overlaid with geometric patterns, varying in intensity and complexity, that capture the feeling of staring at the sky. Upon closer inspection, one sees the presence of the artist's hand, with some of the overlays lining up just off center, or lines converging in such a way as to form an imperfect angle. This brings to mind Frank Stella's large shaped canvases, where the negative spaces of the compositions appeared perfect from a distance but imperfect upon close inspection. Richmond's mix of focus and distortion, precision and human imperfection, come together to form a cohesive and engaging series. Through Nov. 30 at Mt Comfort



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