Text by Mary Coffey
Published by Sicardi Gallery, Houston, 24 pp.
Mary Coffey’s essay, “Love Smells Like Death: On the Glassford Baroque,” frames the diverse work of Thomas Glassford with its corporeal aspects. Even as the Texas artist has consciously moved away from clear body references toward the tense intersection of kitsch and beauty, he continues to evoke a visceral response. There is a rhythmic carryover in his canon that calls to desire, be it consumerist or hedonist and his application of common materials states that beauty is not isolated.
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