Stephen Polatch dissolves the complex hierarchy of natural, architectural, and human orders. Typically, a central exchange between Polatch’s subjects is what matters most in his works. Moments such as these — crossing glances, collaborations between humans and animals, or inner visions projecting into the picture plane— occupy a focal point from which his compositions are bent around. Their compact scale also lends the works a concentrated sense of longing for something purer and more direct, which corresponds to his technique of applying unmixed pigment directly to the surface of the canvas. Polatch refutes a stable chronology, employing a wide range of historical references, from the lyricism and symbolic imagery of medieval illuminated manuscripts, the brilliant lighting of the Nabis, to the repetitive mechanics of Futurism—within the interconnected systems of Polatch’s compositions is the promise, the rushing fluidity, of discovering the new in the familiar. ...
