Michael Page’s latest solo show, “Into Passing” opened at the Shooting Gallery in San Francisco almost two weeks ago on February 12th. I wasn’t able to make the reception, or even see the show up until this past week. The show will be up until March 5th and I highly suggest that if you are in the area, you see this show in person. I have been a fan of Michael’s work ever since I first saw his more narrative styled works at Varnish Art Gallery back in 2006. Since those earlier shows, his paintings have slowly evolved into a more abstract and now vividly colored body of work. Looking closely at each of the paintings you can still see the signature style of figures that he has always created, but now they are intertwined within the mass of abstract forms and loosely applied streams of color.
I have stated before in previous reviews, that I am a firm believer that art must be seen in person, and this exhibition only echoes that sentiment. Michael uses oils for these paintings, and not only are oil paintings more delicate in the way they look, but the subtle details and impasto-like brush marks that Page added to each of these paintings is sadly lost in these images. These works need to be seen up close, to draw in each of the marks and elements that only reveal themselves when you really look close at what this artists has brought to life. There is a good mix of smaller paintings, and as seen in the first image, larger works which were very impressive. The two corners of the entryway also has sculptures made from yarn, wood, and so on and there was also a set of giclee prints available. The prints were the same image, however two of them had been hand embellished by Page, and not small additions but fully painted sections were added to these short runs prints. If you going to do a run of limited edition prints, that’s the way it should be done.