Sweet Relief

Summer Breeze has no political agenda. It has no comment about the war or the upcoming presidential election or the imminent, much-hyped “transfer of power.” It is, by definition, just meant to cool us off, to provide respite from the relentless heat of pressing issues, to redirect concerned citizens’ minds to other topics.

Like sex.

Larry McAnany‘s exhibit of new work is the first solo exhibit at the Late Show‘s spectacular new space at 1600 Cherry. The gallery was previously located in owner Tom Deatherage’s Hyde Park home, but Deatherage moved the space to allow for more exposure. He hopes to take advantage of art-enthusiast passers-by from the Crossroads District’s loyal fanbase.

Hanging on the Late Show’s exposed-brick walls is a collection of 14 pieces of what McAnany calls “loose, fast, free-form drawings.” Most of the works are about 20 inches by 30 inches, with fat pencil sketches etched into thick coatings of cool, muted blues, greens and yellows. “I spent some time sailing with friends in the West Indies,” McAnany explains. “The colors in the water, where you can see 120 feet to the ocean floor, definitely influenced the work.”

Apparently, so did the charming artist’s appreciation of the female figure. That McAnany likes the ladies is evident in the lusty loops that curve throughout his compositions. “We can pretend they’re flowers,” he says. “But it really always comes back to women.” Skinny minnies need not apply, however. “Those superthin models … there’s nothing to draw,” McAnany complains, shaking his head. His figures — uh, flowers — are consistently full and round.

But figures and flowers alike tend to make one’s mind wander. And what was meant to be a fresh summer breeze begins to morph into something a little more damp. Viewers might initially be cooled by the sweeping, sinuous outlines; however, they’ll likely start to heat back up the longer they stare at the intense orange slashes McAnany periodically smears across the paper.