"For two decades now, Andrew Masullo, who lived in New York for almost 20 years and now resides in San Francisco, has been delighting color lovers and picture mavens with his pleasurable paintings.
He thinks pink. And turquoise. And green. And he thinks about mirrors and borders and patterns and symmetry. In his work, pretty is an abstract concept. It’s what you think about when you see bright colors, crisp lines, and nice chunky paint in thick globs that look like candy.
All so unlike grunge, not pathetic but sympathetic. Not abject but subject. A grand subject which is the world as shape, the world as plaything in big pieces you can hold in your hand. Parts of a puzzle that isn’t puzzling at all but is available as squiggles, dashes, dots, and scallops.
Not inscrutable doodles. Not casual like Mary Heilmann or coy like Richard Tuttle, but deliberate, intuitive, and profound like Florine Stettheimer, Forrest Bess, and Hans Arp. Funnier and more off-kilter than Thomas Nozkowski. Form found in nature and in food and in plastic toys and shaped cakes. The shape of things to come and of things that once were.
Not one vortex but two, spinning earlier and deeper than a Mark Grotjahn (No. 3216, 1996). A day-glo nougat Petri-dish (No. 3786, 1999). Fat textured wiggles making purple and green patchwork (No. 3160, 1996). A slab of Crayola-mad terrazzo (No. 3520, 1999-2000). Paul Feeley dingbats magnified, multiplied, and more than a little bit funky (No. 3271, 1997). A color wheel with all the depressing huesleft out (No. 2811, 1992).
His grids are tipsy, geometry a bit wonky. The correct kind of clumsy, sophisticated and chic like the right shade of red. Not twee – Laura Owens is twee – but fancifully tough in the way that Veronica Lake or Lewis Carroll’s Alice is tough. There are rules in these paintings but the rules break. No strict patterns, please. We don’t really like repetition. Color inside the lines. Keep things small. And please take more than one.
We live in drab times. Mr. Masullo’s paintings are little miracles."
- Michael Duncan