These smallish to midsize paintings are overtly process driven; something that is overtly celebrated by artist. The forms are created and shaped by gravity as the paint is poured and directed on the surface. Another key element is the layering of color upon color that occurs which creates a visual history for the piece. Orient is a wonderful colorist and uses both color and form to arrive at a rhythmic quality that animates these generic organic forms. On the other hand these paintings also read as landscapes; particularly for how the multiple vertical forms are placed across the horizontal format.

This show is primarily made up of paintings on canvas and rubber (actually gym mats) as well as work on paper.  What is interesting is that the latter are approximately the same sizes as the

Richard Orient, at the George Billis Gallery

paintings. The works on paper run the danger of becoming too much like objects d�art with their frames and glass. Their saving grace is in completely filling the picture plane with the forms

Richard Orient, at the George Billis Gallery

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Richard Orient, at the George Billis Gallery

Richard Orient, (detail) at the George Billis Gallery

just as the paintings do and so they offer an alternate take as to materials. Still the paintings win out for their immediacy and availability.

The only problem with this work is that the process is a bit pat in the hands of the artist.  Yes there is variation as to color and surface but Orient seems too comfortable with his methodology.  The chaotic energy implied by the motion in the forms is overwhelmed by a stronger sense of control, of always getting it just right.  Every piece in this show is a winner but at the same level of intensity.  As with the forms in the paintings there are peaks and valleys but no dramatic challenges either way to challenge an overtly even handling.

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