Articulate: Washington & Baltimore's Contemporary Art Review
March 1996

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 work—its dominate artistic function is that of illustration—yet 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 moods—surreal 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.


 


 

 

 

 

 

The Washington Post November 30, 1991


KOAN newsletter
June 1998


Articulate: Washington & Baltimore's Contemporary Art Review
March 1996

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February 2006
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