The wonder behind Glovinski's investigations is childlike and boundless, and almost always apparent in every piece. In "Winddancer," a 20-by-40-inch work of cut paper and graphite, the face of a window-mount air conditioner is immediately present, but its likeness to an opera house blueprint appears upon deeper inspection. The two pencil butts of "Birdies," found crushed by car tires and repainted by the artist, resemble badminton props in miniature, and gallery owner Fitzpatrick herself had to inform me that "Extension," a floor-mounted length of aluminum and cast paper, wasn't a real electrical cord.
Several other individual pieces are noteworthy, but since "Decoy" is best observed as a collection, better to discover them on your own. Glovinski's ongoing obsession with the profiles of phone books work surprisingly well as conceptual meditations, and her nod to a Portland public-works institution is a nifty touch, too. Glovinski is hardly the first to play with art's most duplicitous form, but the insights made on her watch are crucial to understanding it. 2D trompe l'oeil art may fool the eye of the viewer, but in 3D, the artist can convincingly seduce herself.
Nicholas Schroeder can be reached at firstname.lastname@example.org.
"DECOY" | works by Carly Glovinski | Through Aug 20 | June Fitzpatrick Gallery at MECA, 522 Congress St, Portland | 207.699.5083 | junefitzpatrickgallery.com
: Museum And Gallery
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