R. O. Blechman at Mark Borghi Fine Art

Illustration/drawing as an art form has assumed a less than sterling reputation through the years, despite some extraordinary examples to the contrary. Poster art conveying important political statements (including Russian agit prop tenets) is one such case. If we go back several years, in fact, we can also recall the "Exquisite Corpse" drawing which helped launch an art movement - Surrealism.

While R.O. Blechman's drawings cannot be directly associated with a political ideology or art style, his work for The New York Times and The New Yorker is powerful, nonetheless. There's something about his content that addresses some salient societal issues as well as questions potent philosophical matters.

Making a connection between Don Quixote and art signifies a well-known Blechman drawing, setting the tone for his worldview. Thus, Quixote carrying a pen instead of a sword reinforces the adage that the pen (particularly used in art) is indeed a mighty instrument.

There are times, however, that Blechman debases the idea of art in a piece where the "A" of the word ART has reversed the directions of "down" and "up" written on the letter (the marker is pointing up for down, and pointing down for up). Does this mean that Blechman is making fun of art and the ambiguous definition of what art is?

Blechman questions other phenomena, like life, in his serigraph "Staircase." Here we see small figures going up three staircases, resembling sheep going to their death (perhaps it's heaven they will encounter at the top). Only two figures are seemingly moving in the opposite direction, rejecting the idea of whatever lies ahead.

Similar in theme is the watercolor "Plat du Jour," where a devil-like figure is handing out a smoldering plate of something we can't decipher.

(The steam is a bit obvious to connote Hell, but its humor is still effective.) Again, there's the subtle idea (at least to this critic) that life's goodies (food) come in attractive packages.

Then there's a drawing that questions the nature of truth ("Non-fiction") showing two faces in the process of merging. Is Blechman saying that truth is indistinguishable from fiction? There are frankly too many ways to interpret this piece, but the possibilities are intriguing.

Confronting these personal concerns does not mean that Blechman avoids political issues. Consider, for example, his "Polluted Water," a drawing responding to chemicals found in the Gulf of Mexico. Unlike many of Blechman's other creations, there's nothing subtle about the destruction of a mermaid, whose fin has been eaten away. Even in its brutality, however, there's a sense of humor at work. And a sense of forgiveness.

- Marion Wolberg Weiss

R.O. Blechman's works will be on view at Mark Borghi Fine Arts in Bridgehampton until Oct. 27. Call 631-537-7245.

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