Butterfly II 1969

Blinky Palermo’s "Butterfly II," looks like it was created with a reductive approach, almost like it was built by subtraction. I’m imagining Palermo in his studio, working and reworking these matte shapes, making decisions to subtract until it becomes a shadow of itself. The tension between the two dark shapes—the wing and the body—creates a visual hum. The vertical line isn't quite straight, suggesting a hand-painted gesture that gives the work a delicate quality. It’s interesting to think about how Palermo, like many painters, was in conversation with other artists. You can see echoes of Barnett Newman’s vertical “zips”, but also a dialogue with the minimalist sculptors like Donald Judd who were interested in simple, geometric forms. Ultimately, painting is about seeing what happens when you put two colors or two shapes together. It’s an ongoing conversation, and Palermo’s butterfly is a poignant contribution.