"In Waltemath’s drawings, instead of the march of tight, repetitive squares of a regular grid, you get an original non-standard crisscross system. It’s still orderly and stable, yet because the cells expand and contract with a generosity amounting to luxury (in a grid kind of way), there’s a hopefulness embodied in the work. The 15 grids were preprinted on milky white Mylar then partially filled in with shiny graphite or colored pencil rectangles creating works that might be architectural plans or drawings of electronic circuitry. They also look like stretched out, grisaille versions of Mondrian’s Broadway Boogie Woogie.
But unlike Boogie, an ode to New York that’s all nervous energy and staccato rhythm, Waltemath’s drawings are slow and legato, like an urban pastoral. Mounted at regular intervals on the four walls, the long and narrow scroll-like works have the authority of a system. As a group, they evoke architectural columns—or the body as column, turning the vault into a kind of temple or tribal circle. But as with all good art, there’s other layers of meaning here. Indeed, Waltemath’s installation, which includes an abstract musical accompaniment composed and recorded especially for it, is rich in ways too numerous to count. This elegant visual play is enough to convert even the math-phobic."
Roberta Fallon, Philadelphia Weekly, November 21, 2001
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