Though at first David Rhodes’s paintings appear to be reductive, repetitive and formulaic, with time one may come to the conclusion that his works are refreshingly deceptive in that he makes paintings that inform thought rather than ones that illustrate soundbites, or are displays of subjectivity and taste.
These works’ pictorial strategies, and others from the 1970s on, though their initial effects are still op, align them with many of the now marginalized practices of post-50s hardedge and geometric abstract art. With this insight, I realized Riley’s practice extends beyond her association with Op art and that her work can be contextualized within the broader aesthetic discourses of early and late modernism.
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