Dans Papers - June 8, 2007 - Dan Welden & Gregory Corn At Gone Local

In an effort to keep art criticism fresh but still insightful, we critics often employ personal and subjective inspirational sources and/or "offbeat" interpretations. This doesn't mean to suggest that such meaning is flip, irrelevant or presumptuous even though we know the artist in question would never agree with our observations. Nor does our unconventional analysis infer that we are lacking experience or a comprehensive art background.

That said, let's consider Dan Welden's current show at Amagansett's Gone Local Gallery. It occurs to yours truly that his works, while similar to his "signature" ones, are also different. First, the nautical nature of the pieces remains the same, yet the emphasis on a boat's sail and general infrastructure (i.e. constructivist configuration) is dissimilar to previous endeavors.

Moreover, the mixed media medium evokes the impression that the works are paintings, not the usual prints which Mr. Welden is known for. However, the pieces are still impressive and striking no matter what changes we may rightly or wrongly perceive. Secondly, these external changes lead to another difference, and that's where the "offbeat" interpretation comes in. There appears to be more of a narrative thrust to Mr. Welden's works. For example, we imagine a story taking place in and among the sails, and off the boat as well. Where's the vessel going? Who are the passengers? What dangers, if any, lie ahead? Is this critic seeing too many Pirates of the Caribbean movies with Johnny Depp? "Scarlet Structures" particularly suggests a story taking place with its passionate reds and inherent danger associated with that color.

Conversely, "Floaters" evokes a primordial story of the past with its grey hues.

Perhaps it's not the subject matter itself that inspires a narrative, but the sail as a metaphor that should be considered. Such an unconventional interpretation may include the canvas itself and its connotative meanings, the idea of sailing or gliding through the water, or sailing through life, stately and without barriers.

Mr. Corn's sculptures relate well to Mr. Welden's pieces, primarily due to their geometric shapes like blocks (in "Stitch") and the textures they suggest (like straw in "Elevator"). The idea of weight in Mr. Corn's works also has a commonality with Mr. Welden's sails whose sheer presence is pervasive.