art commentary With Marion Wolberg Weiss

BILL KING AT PAMELA WILLIAMS GALLERY

Last week, a respected art critic lamented the fact that there weren’t many surprises here in the Hamptons. No doubt, he was talking about the lack of innovative, exciting work in the galleries. This critic can see his point and yet disagree at the same time.

Seeing Bill King’s sculpture at the Pamela Williams Gallery in Amagansett proves that there are, indeed, surprises left on the East End and there always will be when King shows his work. No matter that some pieces in the current exhibit are from the late 1980s and early 1990s. They are still as fresh and varied as the ones created in 2007. (Four of these are also in the show.)

It’s not so hard to characterize King’s sculpture, even at first glance – funny, ironic, insightful about human nature and self-effacing. And, oh yes, the figures are usually long and narrow, like King’s own physical demeanor. Last year’s show at Pamela Williams Gallery conveyed a different aspect of King’s “characters.” Yours truly called it “conceptual art” and attempted to demonstrate that the multiple configurations positioned ideas over images.

The present display features mostly singular forms, however, which don’t suggest that the work is less complex, just more like what we’ve come to expect. And yet, what we expect from this artist goes well beyond a superficial interpretation. Yes, his work is humorous, ironic and insightful. Within that context, however, we can discover layers of diverse meanings.

Consider King’s “Amore” (2007). The figure is made of red polyester with two aluminum heads. One “face” (without a body) is kissing the face of the figure. Initially, it appears to be showing two characters in love, although it also seems a distorted view. On second thought, it also could be the depiction of self-love, a less than lofty trait. (King does have a sculpture called “Narcissus” (2007) in the show as well.) The red material may also have a double meaning it represents both passion (for romantic love) and blood (for destructive love).

Color and material both predominate in other pieces to convey varied meanings. For example, the gold shirt in “Early Retirement” may be a signifier for riches possessed or riches to be obtained. Moreover, polyester as a fabric is not a substantial one like cotton or silk – perhaps the figure’s gold shirt and wealth is only temporary.

That King’s choice of materials holds a significant place in his themes is another discovery, going well beyond simple interpretations. So too, is his selection of bronze over pine, for example. Consider his “Crisis” (1996) where wood (pine) seems more flexible and malleable, thus suggesting that the crisis will soon abate.

Even with the possibility of multiple meanings, King’s sculptures maintain an essential core of truth, no matter what the interpretation.

Bill King’s show will be on view at the Pamela Williams Gallery in Amagansett until May 28.