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Excerpts from a review by Jon Carver in the October 2000 issue of THE Magazine:  Charles Schweigert…Making Sense of It All,
A Solo exhibit of paintings at Segreto Contemporary Art, Santa Fe, New Mexico


…Schweigert paints in an essentially Abstract Expressionist mode and manages to do it with integrity. This isn’t that easy to do these days. This well-established style has, in the hands of most contemporary practitioners, become simply decorative and not much more . Schweigert acknowledges this with a beautifully subtle palette of neutrals. This might in fact be the Rococo of gesture painting, for all the rich soft color, but he also brings to the work a sincere search for visual form. Anybody can smear paint around, but not everybody can do it well. To actually build a structure of pure color and tone that bears the concentrated investigation traditionally reserved for pictures is still quite a difficult thing to do well, even at this late date. At the same time, the strongest paintings in the show contain figurative references. The history of painterly response to current events stretches from Turner’s Slave Ship through Gericault’s Raft of the Medusa. Daumier and Goya made whole careers out of the genre. Warhol did it both for fun and seriousness, and Schweigert’s three paintings in tribute to Matthew Shepard’s brutal, senseless death in 1998 find themselves a part of this long tradition. …There is something of the anguish of a Giacometti drawing, and a fetishistic need to recreate the moment when difference is punished – for the sake of understanding it, for the sake of controlling it, for the sake of keeping such stupidity from ever happening again… …These are powerful and reflective paintings.

 

Jon Carver
THE Magazine
October, 2000