Home, 1996 (detail)

Although Mark Greenwold’s densely structured figurative paintings may first draw one’s attention due to the ingenuity with which the artist constructs and deploys pictorial space, the works’ meanings do not become clear until one has begun to delve into the implied narrative between characters within the canvas. Drawn irrevocably into the tangles of human intimacy, Greenwold is particularly involved in the interpersonal dynamics of family life: its needs, desires, fears, pitfalls and revelations. He is at his best when the insights he provides thrust his subjects’ (often including himself) primal fears into the foreground of a claustrophobic suburban existence, and he does not shirk at revealing the suddenness with which our obsessions can transform us into pathetic and/or violent creatures. In his most recent paintings, such as The Addiction of Innocence, Greenwold mixes the sources of his imagery in such a way that the intimate details of life overlap with other references that seem to be either more casual (incorporating portraits of friends) or else bordering on the fantastic (children depicted as angels), forming a potent and invariably compelling psychological brew.

(excerpt from Dan Cameron's catalog essay, click to see full text)