Downes paints the landscape pushed carelessly out of balance by technology, but the disjunction is formally underplayed. Colors are subtle, markedly nonindustrial -- tans, pinks, powdery ochers, grayish greens and faded yellow-greens; even the blue of his skies has a sandpapered midday look. He is careful in the way he renders: painstaking but not fussy. Masses of detail accumulate, but Downes allows himself elisions, so that paint and the texture of the canvas can quietly assert themselves.

These are, in their way, passionate paintings, and they touch lightly but firmly on the sublime.

Wow. Stunning in their rendering.

Your above quote says, "painstaking but not fussy" I would add in 'not forced.' Captivating, but not demanding or imposing. I don't know how else to describe it but to say that it's as though there's a graciousness in Downes' technique as though he's more of an unveilor of the scene, opening a door or drawing back a curtain, as it were, rather than filtering or interpreting the moment for you or making a statement.

As usual, matteo, very very cool and thank you!

matteo, wow, holy fuck these are good. And I recognize two of the locations -- I used to live on 111th just off Broadway.

The ductwork paintings look like Half-Life renderings.