Colors pop and merge into the background while shapes seem to hover on the surface of Carrie Moyer’s latest paintings at DC Moore. These tensions – which define Moyer’s practice – are made more provocative in her most recent work by the addition of more representative elements, like the tassel-like floral bells dotting the surface of this painting, ‘Hell’s Bells and Buckets.’ Moyer notes that in some recent work, her palette has ‘downshifted,’ or adopted a chromal sobriety found to either side of the central flow of form in this painting. Far from creating a subdued painting, however, the effect is to heighten excitement at the shifting forms at center. (On view in Chelsea through May 1st. Masks and social distancing required.)
