Convergence: Martyn Bouskila & John Torreano

College for Creative Studies: Center Galleries
301 Frederick Douglass.

Detroit MI 48202.
313-664-7800

Center Galleries
Tuesday-Saturday, 10:00 a.m.-5:00 p.m.

November 8 through December 20.


CCS Center Galleries presents the pairing of England born now metro-Detroiter Martyn Bouskila and Flint native, now New Yorker John Torreano. While their methods of working are quite dissimilar, they both make use of the repetition of circular forms throughout their pieces. Specifically, Bouskila’s paintings are filled with overlapping layers of cell-like biological forms while Torreano’s works appear to be fields of stars or gems, or perhaps even the points of light sparkling off a gem.





Bouskila achieves his series “Growth Patterns” through a combination of lacquer and acetone on board. The feedback dynamic between the materials leads to unplanned occurrences giving each ring a more organic feel than could be achieved through the straightforward application of paint. There is a balance between the controlled structure of the pieces and the chaotic nature of the chemical interactions. As such, the works have the look of growing forms, of cells splitting and dividing. The forms grow and envelop the entire surface, indicative of developing forms or the insidious spread of cancer. If you gaze at these pieces long enough, they seem to come alive, and you can almost see further cell division as you watch. Each piece explores the same subject matter, but the growth patterns and presentation are all unique.





Bouskila has one singular piece made without the use of lacquer. In “Steppin’ Out” he has used gold leaf covered staples on a velvet background to create the ringed forms. While the visual content has much in common with the rest of the series, this piece has an added layer of humor to it. Bouskila provides a whimsical short story to accompany the piece, which explains how the staples got their gold leaf. Essentially the tale reveals his desire to give the staples some kudos by giving them a chance to be front and center if but for a brief moment. The piece works visually with the rest, but the humor of the piece and the story provides a light moment in what could otherwise be very serious works. (For more of Bouskila’s humorous and deeply philosophical writing, see thedetroiter.com fiction section.)





Torreano works with repeated circular forms as well, but they are far from organic in appearance. For one body of work he has built large plywood panels decorated with inlaid fake gems, wooden balls, and routed holes in the plywood. The routed holes function as relief and the wooden balls project outward, giving the space a depth beyond its otherwise flat painted surface. Some of these are directly reminiscent of star fields, with black backgrounds and the spray painted, multi-colored balls, routed holes and gems serving as stars. Others pieces are less representative of outer space, but quite similar otherwise.


Torreano also works more sculpturally, creating wooden columns and adorning them similarly to the flatter pieces. They are rounded totem poles with gems as stand-ins for faces. A third body of work consists of a number diamond forms made from stained glass and steel framework that sit on the floor. All of these pieces serve as visual pointers to deeper philosophy about art and the value of objects. The gems are not gems at all but paste and glass. Torreano states that the multi-faceted nature of the gems addresses the multiple ways of looking at art.


Torreano’s constructions are truly unique and interesting objects, provoking much curiosity as to their nature and structure. Like the gem forms and star fields they mimic, they spark interest and contemplation but ultimately leave a viewer cold. A gem’s sparkle and a star’s twinkle provide us with no real warmth. A viewer that can decode and unpack the meaning and the reference to the history of art making can reach a different level of appreciation.


This show proves an interesting pairing. Both artists present very different models on structures that make up our reality. Each informs the other through contrast and similarity. – Nick Sousanis