Gideon Chon abstracts and reimagines the figure through color, shapes, and patterning in an eclectic exhibition.
One could easily pick out a number of different artistic styles in the work of Gideon Chon, who may leave viewers both puzzled and inspired in his latest solo exhibition at Dacia Gallery, New York. “The Kiss (Woods & Sea)” could recall artists of the 1960s and 1970s, but one could also find cubism in other works, such as “Checkered Woman.”
Despite the broad range of influences, the figure remains a dominant subject for Chon. He suggests, “Its ever-changing shapes, colors, and line have been a stimulus in my exploration process for 35 years. Figurative drawing and painting became my conduit to the beauty of sensuality, flow of spirit, and the ties to earth.”

Gideon Cohn, “Checkered Woman,” oil on canvas, Dacia Gallery

There is a captivating dichotomy between the organic lines of the figure and the overlying order of geometric patterning in much of Chon’s work in this exhibition. The lack of spatial context or a clear narrative also injects a surrealist tone into the paintings that is mystifying.
“Visum Opticum: Gideon Chon” opened on August 1 and will hang until August 27.
To learn more, visit Dacia Gallery.  
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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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