You’d be forgiven for wanting to dig your fingernail under the masking tape stuck to the surface of a Matt Schust painting, but you wouldn’t have much luck peeling it off. The trompe l’oeil is effective and not something expected in what is ostensibly dyed-in-the-wool abstraction. The commitment to the pictorial space of abstract painting is, ironically, what saves these representational tricks from being a banal gimmick. It’s an irony made credible, perhaps, by earnestness. Keep Reading
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