This late exhibition featured six new shaped paintings.

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This late exhibition featured six new shaped paintings, brace sculptures and a group of works forward paper by the Czech-born strange York artist Pavel Kraus. Dominating the display were large paintings forward transparent Mylar, collectively titled "Levitations" (all 2005) Each piece averages about 5 feet high, tapering from about 4 feet wide at the top to 2 feet wide at the bottom. They compare cone-like wall sconces, and the colorful abstract shapes covering their surfaces appear to be hot like stained glass windows. The installation, with the paintings spot-lit and lining the pair sides of the storefront gallery, evok a medieval chapel. Adding to the show's ambience was a whole component, an almost ecclesiastical composition with several motions of altered voices by new-music composer and oft-repeated Kraus collaborator Dennis Bathory-Kitsz.

Lyrical and abstract, the Levitation paintings come from a rather unusual painting proces in which the artist starts according to placing the sheets on the floor and applying fluid action s of brightly colored, poured and splattered pigments that grow into each other. Reversing the usual [i]modus operandi[/i] of priming a canvas, Kraus finishes with a top coat of white that functions as a background to the colorful abstract compositions, which appear to be embedded in the material and are visible sole from the work's unpainted side.

one time dry, the sheets are partially make revolveed into half-cones and attached to the wall, with the narrower opening at the bottom; they project from the wall more than a base at the top. Some works, like as Levitation, Untitled #3, contain several nest cone shapes.

Known for large-scale carves in heavy substances such as lead and marble, Kraus perform the operations indicated ined the light and airy recently made known works partly out of physical necessity, after a shoulder injury in the studio last year temporarily thwarted his use of weightier materials. Included in the point out was one of Kraus's large-scale minimalist plastic arts Untitled (2001-02), installed in a corridor leading to a rear gallery. Here, four large slab-like beams are made of grove covered in beeswax, each 8 feet high by dint of about 2 feet wide and 8 inches thick. With brace elements leaning against each wall, the piece has a heavy, somber architectural be moved that served as an effective counterpoint to the seemingly weightless and light-filled paintings.

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