Picture a man in New York City, wandering its busy streets. He spies a battered piece of small cast plastic on the sidewalk. Its shape is familiar to the eye and hand; it is intact but not instantly identifiable.
James Siena on how painter Chris Martin’s long, difficult career is finally paying off.
Siena successfully turns his images into what they are not, coaxing their “other” from them. Seemingly without conscious intention, he transfixes the viewer like a magician, making the nonexistent become existent, in the most indirect way.