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The centerpiece of Alvin Armstrong‘s latest solo present in Los Angeles is certainly one of a jazz bass participant, holding his head down, eyes shut, poised on the upright. It seems to be Charles Mingus. What it offers off is a component of motion and sound, even in its minimal and flat composition. It is shifting with power and seriousness. It jogged my memory of a second in Alvin’s interview with us final 12 months, “As a result of the work are two dimensional and flat, I attempt to create the phantasm of better motion from my brush strokes. It’s extraordinarily difficult to color in such a approach that the motion is grounded and proportional.” In Fairly Quickly We’ll Be Underwater, there may be each a illustration of the physique in flux and in motion in addition to the simplicity of how a lot a portrait can include motion whereas seemingly frozen in time. That may be a present that Alvin has; every thing feels alive. —Evan Pricco
Additionally of observe within the present: Fairly Quickly We’ll Be Underwater comes from a line within the track, “All These Adjustments,” by R&B soul musician Nick Hakim the place he sings concerning the fragility of the planet and humanity’s plan of action to put it aside.
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