Ross Neher's geometric abstractions at 210 Gallery reveal Renaissance architectural inspirations

Ross Neher's solo exhibition at 210 Gallery in Brooklyn showcased abstract paintings derived from architectural studies. Between 2003 and 2009, the artist created works based on detailed observations of the Castello Sforzesco in Milan. His process involves transforming real-world architectural elements into abstract pictorial themes through multiple variations. Neher previously applied this method in 1997 after studying the Palazzo di Consoli in Gubbio, Umbria. The paintings feature beveled rectangles arranged in unequal grids, creating perspectival illusions through color modulation and light effects. Works like Dark Sforza (2005) and Faro (2006) demonstrate his balance between representation and abstraction. His approach examines how light transforms architectural forms throughout the day, reminiscent of Monet's Rouen Cathedral series. Neher's spatial grids contain cubic portals that contrast with color harmonies, yet his work avoids Cubist influences. Paintings such as The Red Zone (2004) and Interlude (for Bridget Riley) (2005) suggest Mannerist and Expressionist impulses while functioning as optical art. Unlike Victor Vasarely's kinetic optical style, Neher's paintings maintain an unfinished quality similar to Giacometti's late sculptures. The artist's phenomenological approach brings abstract geometry back to representation through empirical observation of historical architecture.