Dan's Papers - June 19, 2009

If conceptual art were alive and well today in the Hamptons, it would reside in the hands of artist Charles Waller. (The word "hands" is meant to be a pun, since it is one of Waller's motifs.) Not that he would particularly embrace the conceptual label. No matter. This critic has characterized his work for years as such, even if the term may be ambiguous and misleading.

Needless to say, Waller's current show at the Pamela Williams Gallery seems less conceptual now than it has been in the past. Why? Perhaps this critic's memory is not as sharp as it once was. Perhaps what was conveyed as conceptual years ago was merely "edgy," a compliment, nonetheless.

This isn't to suggest that Waller's art is not as striking as it once was. It's simply changed.

The exhibit's centerpieces feature envelopes, letters and stamps collected by Waller, found objects that are his aesthetic "signature." (These two works celebrate letters between a sender and receiver whose identities are designated only through addresses. Thus, this communication becomes their "signatures," too.)

While the display of personal envelopes recalls those by artist Li-Lan, their abundance produces a different kind of landscape. At first, we are moved by the beauty of the colors and writing. Next we are impressed by the letters' arrangement in another work, a sculpture/installation placed in the middle of the floor. The possibilities keep increasing, and now we wonder what the letters say, what their "back story" is. The works become a narrative as if by magic.

While the various meanings may evoke conceptualism, especially with the written text, the pieces are a bit too "formal," aesthetically speaking, to be entirely conceptual. Conversely, some of Waller's other works are more about ideas rather than composition, for instance. Therefore, consider his motifs, which connect the meanings of several pieces. His children (and accompanying hearts) are two such examples, seen in "Mother and Child." It is both a loving symbiotic representation and also a suggestion that the "mother" is not complete because she is headless. (Numerous of Waller's figures do not have heads and may not signify anything at all.)

"Kiss Kiss, Bang, Bang" also features three doll-like (male) children with hearts placed on their genitals. There's a subtle contradiction here as well, calling attention to childhood and sexuality.

Other motifs become apparent, including a female mannequin, seen in "Mother and Child" and "Charity." The corset on this latter figure contrasts sharply with Waller's wedding dress in another work, "Ghost," again reinforcing sexuality and purity, respectively.

Hand motifs also figure predominantly in Waller's work and can be found in "Pipe Dream," "Cup" and other small sculptures. But are they part of his conceptual themes? Do these objects have significance? Or does Waller use them simply because he likes their shapes? It's hard to tell, but it's fun trying, nevertheless.

Charles Waller's exhibit will be on view at the Pamela Williams Gallery until July 13. Call 631-267-7817 for hours.