ichard Rezac builds his minimalist sculptures with basic geometric forms, creating unimposing yet graceful pieces. In this show of recent work, “Signal,” he presented eight preliminary drawings and eight sculptures made of materials such as painted cherry and poplar wood, along with steel, aluminum, and bronze.
Zeilschip (blue), 2013, a small ovate, cast-bronze piece, was striking in its poise. Mounted on the wall, it had been tipped slightly to the right, a vertical line running along its reflective surface, which was lightly marred by the artist’s hand. A peg-like piece of blue-painted wood had been affixed to the work’s left side, maintaining equilibrium. At play was the perfection in imperfection, the balance in imbalance.
The studied intensity that characterizes Rezac’s work was also evident in Untitled (13-06), 2013, consisting of a yellow-painted wood lattice, typically a decorative addition to a room or garden, atop an aluminum frame mounted horizontally about waist high. Diamond-shaped forms cast from red polyurethane were nestled in four of the lattice’s openings like notes on a musical scale.
Recalling household fixtures and architectural elements, the works here located tensions and affinities between form, material, and color, and unexpected associations among their various parts.
A version of this story originally appeared in the September 2014 issue of ARTnews on page 107.