& Baltimore's Contemporary Art Review
By Lee Wayne Mills
Steven J. Fuchs exhibition, Glen Echo Suite, is installed
upstairs at Gallery K. I confess to a certain early hesitancy regarding
his workits dominate artistic function is that of illustrationyet
it is much more than that! And most of my reservations evaporated
as I fully explored how much further the work really goes.
Many of the works touched me in a warm and genuinely nostalgic way,
while others conveyed more ominous and chilling tempers. Much of
the work is beautifully, even breathtakingly, realized. Fuchs is
a master at creating huge, haunting and evocative atmospheres with
his palpable ink washes, native drawing skills and knowing economy
of design, His nocturnes create fabulous moodssurreal and
charming and menacing plays of light, and shadow and impending presence.
In his best work there is always a implied, pulsing otherness.
In "Pop Corn," with its skewed, cinematic perspective
or the Mechanical Laughing Lady," with its guarded, sinister
gauntlet, that "otherness" is a mysterious, looming thing
hiding in the humidity within the scene. In "Blizzard of 1996"
it takes a more surreal and humorous twist, as if Glen Echo has
been blanketed by a berserk cotton candy machine. While we mere
mortals shoveled our way to the street, the ghosts in the park ate
their way through to the bumper cars. Most of the work has the same
seductive presence; as if we were seeing individual cells from an
animated feature yet to be released.