Quincy Owens: "Hair of the Dog"

Quincy Owens’ new paintings are, in his words, about “the spaces in between things.” In “Untitled #38,” which is based on a blind drawing of flowers (where he wasn’t looking at his sketchpad during composition), the red shapes painted in oil on top of the washed out gesso might resemble flowers—or clouds, or birds. You can also see pencil marks here that served as an outline to follow with red paint, but he chose not to do so. He chose, that is, to remain in the state of in-betweens. Most of the paintings on display here, whether on canvas or tintype, are abstract in this way. If such a process-oriented approach to painting might seem hard to follow, you might be more impressed by his sculptural work that involves creating molds of found objects, firing the molded clay replicas, and painting them in black so they come off like 3-D photographic negatives. In “Black Rock Sculpture #55” Owens employs a Coke bottle mold that stands precariously upon a strange jumble of oddly shaped objects like a triumphant mountain climber. Through January 31st; 317-396-3886; www.harrisoncenter.org.—Dan Grossman