Eric Holzman's Small Paintings at Lori Bookstein Fine Art Emphasize Lyrical Abstraction

Eric Holzman presented small, luminous paintings at Lori Bookstein Fine Art from January 8 to February 7, 2015, located at 138 Tenth Avenue in New York City. His works reference Westchester and Hudson Valley landscapes, focusing on tight compositions that capture both shape and feeling, described as visionary and mystical, akin to Albert Pinkham Ryder's pastoral scenes. Holzman begins paintings in situ for verisimilitude and finishes them in his New York City studio, incorporating complex, built-up surfaces. The paintings, such as Kessico (2000) and Elm (2008-14), feature dark palettes of browns and greens, with abstract passages and muted hues creating a dreamlike, atmospheric quality. They avoid nostalgia or ecological despair, instead offering meditative realism through persistent study of natural forms. Despite small dimensions, the works intensify through curving tree forms and rich textures, pushing forward the landscape genre in a contemporary context. Holzman's art, while recalling the Hudson River School, aims to restore dignity to landscape painting without overwhelming sublime visions, as seen in Late Afternoon/Crestwood II (2013-14) with its hazy light and deep foliage. His persistence in nature-focused art contrasts with technology-driven trends, presenting a brave move to preserve relations with the outside world.