ALBUQUERQUE, N.M. — In one sense the artists in the Concetta D Gallery stable are 19th century traditionalists, but they also represent a rebellious back beat like a bass drummer backing the free-style rock ‘n’ roll heavy-metal cacophony of the 20th and early 21st century modernist, post-modernist, post mark and post-apocalyptic aesthetic.
I once compared the ubiquitous landscape, cowboy and American Indian paintings of the great southwest to Andy Warhol’s soup can prints because of their equally market-driven pop culture success. But it may be time to take a second look at the almost post-everything survivors of the intellectual culture wars.
In “Tender Encounter” Paul Cheng bridges his Asian heritage with that of the American Indian post-Columbian horse cultures. The elegantly detailed depiction of a warrior reassuring a small fawn at the edge of the trail evokes positive emotions while highlighting the universality of human creativity.