The Washington Post on Gregory Logan Dunn's 2020 exhibition Destiny Manifests.

"The titles of some of Gregory Logan Dunn’s recent pictures evoke the biblical scenes that dominated European painting centuries ago. But there’s no literal religious content in Dunn’s purely abstract works such as “Fall of the Rebel Angels.” The conflicts recounted in the Rockville-based artist’s Lost Origins Gallery show are among the multiple layers of pigment raked across the surface with a large Plexiglas tool that Dunn made, resembling one used by German modernist Gerhard Richter. The show’s name, “Destiny Manifests,” refers to other sorts of battles, the painter explained during a recent conversation. The allusion to Manifest Destiny, the 19th-century doctrine that justified American expansionism, refers more to Dunn’s state of mind in today’s agitated political climate than to his art. The latter is vigorous and eye-poppingly colorful, with dramatic juxtapositions of red and green or, occasionally, orange and blue. Dunn lays down seven to eight coats of different colors, whose interplay sometimes elicits additional shades. The strata meld so the order in which they were applied is frequently, though not always, unclear. The pictures are mostly in a almost-square format that’s just a bit taller than wide, and made with horizontal strokes that yield powerful upward swells of color. There are no visible angels in Dunn’s paintings, but their vertical ripples draw the eye heavenward."

 By Mark Jenkins for The Washington Post, March 17, 2020.

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