Paul Winstanley and Tim Ebner

It is much the fashion to be making photographs that look like abstract paintings. Not Paul Winstanley. He is making abstract paintings based on photographs. They have the effect of reminding you just how much more painting has to offer in the control of light and reflection, especially in the subtle tonalities of white, gray and blue that dominate this series, Art School. The show at 1301PE is on through June 28.

A

Paul Winstanley, "Art School 4," 2013

Oil and wax on canvas over panel

56.7 x 37.8 in (144 x 96 cm)

Courtesy of 1301PE and the Artist

Winstanley is known for his paintings of institutional interiors, modern architecture, spaces for waiting with windows and vacant views. But this particular series has added significance. The English artist, now 60, traveled around his country as well as Scotland and Wales photographing the empty studios of various art schools including the ones where he himself studied painting.

B

Paul Winstanley, "Art School 24," 2014

Oil and wax on canvas over panel

26.9 x 22.4 in (68.4 x 57 cm)

Courtesy of 1301PE and the Artist

Though he did not alter anything that he photographed in these art school interiors, his paintings are in no sense photorealist. Instead, the photographs are the basis for medium to large scale pictures, all vertically oriented, in his own sophisticated version of grisaille, the technique of using neutral grays for under-painting taught in traditional courses. Though his past paintings were largely executed in such seemingly neutral tones, in this context, they elicit a sharper recognition of painting methodology.

C

Paul Winstanley, "Seminar (Grey)," 2014

Oil on linen, 61 x 63 in (155 x 160 cm)

Courtesy of 1301PE and the Artist

The white walls of utilitarian white rooms with gray floors may not seem like the most inviting subject matter. Yet, the absence of furniture or people in these paintings permits the redolence of suggestion, all that art school has to offer, the romance of the history and the process. "I'm interested in how little information I need to put into the painting and still allow the viewer to see everything that's there, allow their mind to do a lot of the work," he has said.

E

Paul Winstanley, "Seminar (Yellow)," 2014

Oil on linen, 61 x 63 in (155 x 63 cm)

Courtesy of 1301PE and the Artist

D

Tim Ebner

Photo by Grant Mudford

Courtesy of Rosamund Felsen Gallery

Too minimal for you? That is not the case with Tim Ebner. He has filled the Rosamund Felsen Gallery with sculptures of fish that he has sewn from unlikely upholstery fabrics covered in chintz and checks and stripes and paisleys. All stuffed and stitched, they are mounted on welded metal stands that organically twist and turn like strands of seaweed. Ebner even made the ceramic eyes that he slipped under the fishy eyelids lined with eye lashes. (Eyelashes?) They also pout their bright red lips. Starfish and stingrays on the wall keep them company. The whole show is a marvel. Ebner has had several careers in one, succeeding in turn with early minimal sculpture in molded plastic, operatic paintings of animals, and now, as an avid deep sea fisherman, an exploration of the antics under the sea. How exciting to find an artist who is not afraid to continuously follow his imagination rather than trying to outsmart market trends? Ebner has always been that sort of artist. Hurry, the show closes this Saturday, May 24. For more information, go to rosamundfelsen.com.