Stan Slutsky (Mar. 11 – May 20, 2017)


Born in 1941, Slutsky attended Youngstown University in Youngstown, Ohio, and semi studied drafting, design and architecture in his hometown of Pittsburgh, PA;   Although his technique is an outgrowth of those studies, he admits to being mostly “self-taught, uncomfortable in stuffy studio classes, too energized for workshops, and wishing to experiment first-hand”.

It only takes one look at a Stanford Slutsky acrylic-painted canvas or mixed media sculptures to discover how artistically fluent he is at pure geometric and chromatic Abstraction. He skillfully employs cubes, circles, Parallelograms, hexagons, pentagrams and a wide range of other basic shapes that are rooted in classical Greek and Egyptian antiquity. While, certainly, Slutsky did not invent most of these forms, he must be credited with the striking way in which he juxtaposes them.  His graphics create Engrossing images that encourage viewers to participate in them.

Slutsky possesses a keen eye for merging vibrant hues and tints, as well as an ability to effect subtle color gradations and systematic chromatic harmonics.  Along with his expert positioning of ordered, related forms, his artwork provides an intriguing, multi-dimensional optical illusion. What the viewer sees at first sight changes upon further inspection, and in fact, the possibilities actually jump back and forth, as if one is engaged in a challenging visual volley.

The artist’s remarkable craftsmanship and self-imposed standards of quality allow his ideas to leap off the canvas into the viewer’s mind, with as little interference as possible from technical necessities.  He works with a deft hand-eye-brush canvas coordination as he applies multiple coats of acrylic hard-edged lines until they appear straight to the eye.  After his initial sketch, Slutsky avoids using pencils, rulers, straight edges, measurements, mathematics, frisket, tape, air-brush or any other instrument.  He relies only on his observant eye, steady hand and brush to fashion geometric forms into arresting art that has earned many awards of distinction.

All of his creative output is thoroughly investigated and arrived at through a self-examining trial-and-error process.  It is very cerebral task that probes for logical solutions to problems and situations, and one devoid of “isms”, vogue influences, and self-congratulatory or vain impulses.  The artist pushes to the edge, following the muse of innovation, uneasy with any leveling off or plateau.  He finds contentment only by refusing to be content.  This inspiration is not a place to arrive at or to be, but more an activity on a path.  It is a spiritual endeavor.

Stanford Slutsky exudes ingenuity.  He is constantly finding fault with the historical approach to his chosen subject matter and strives to improve it.  He is engaged in a never-ending search for a composition void of distractions, such as unevenness of texture, surface heights, and gloss subtleties that do let the sophisticated viewer dwell on the duality of shapes and relationships.  Without exception, he presents his subjects in inexhaustible variation, reconfiguring simple shapes and primary colors in order to deliver an element of refreshing surprise.

They do not make any more geometric shapes, and it has been said that there is nothing new under the sun, but because Stanford Slutsky believes that the human mind is endless, he keeps reaching out to better share those ideas that fascinate him so.

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