Driven to Abstraction

The owners of Las Olas Fine Arts have a knack for displaying their contemporary wares

Rather than opting to represent dozens of diverse artists, Las Olas Fine Arts concentrates on the ones I've mentioned and a handful of others, which gives the gallery's holdings a focus and some internal consistency. If you like one of the artists here, there's a good chance you'll go for the works of at least one or two of the others. (By the same token, if one artist leaves you cold, you may find little of interest in the others.)

My main quibble with the gallery has to do with what could be perceived as carelessness. Many of the works on display have small I.D. panels posted alongside them -- the kind typically used to specify the artist, the medium, the title and size of the piece, and sometimes the year it was created. But many works go completely unidentified. Likewise the capitalization used in the titles, many of which are in French, seems at best haphazard.

When I checked the gallery's Website to resolve some questions, the waters were further muddied. The site includes a page devoted to a biography of "Vivian Case-Fox," for example, but if you link to that page you'll find the artist repeatedly referred to as "Viviane," while the I.D. panel next to one of her pieces in the gallery spells her name "Vivien." (I settled on "Viviane" simply because it appeared most often.) Another artist's name has similar variations: "Fabien Jean" in some places, "Fabian Jean" in others.

Pierre Chénier's la Chute d'Ycare and the sculpture of Niso Maman make for a striking combination
Michael McElroy
Pierre Chénier's la Chute d'Ycare and the sculpture of Niso Maman make for a striking combination

This is nitpicking, of course, and as I indicated earlier, gallery owners Greenbaum and Rioux have clearly put thought and care into the placement and juxtaposition of their art. But with so much good work at their disposal, it's easy to think that the art -- and the artists -- deserves a little more attention to detail.

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