Eight new works comprise this exhibition of Ken Price’s most recent body of work now on view at Franklin Parrasch Gallery.

No longer hollow or revealing an inner cavity these wave-like bulges and protrusions weave their way in a space defined by intense, multi-layered palettes of unabashedly seductive color. A work entitled Lulu (the largest in the show) projects a sequence of undulations, progressively increasing in size, that protrude beyond the object’s center of gravity as if in the gesture of a tubular wave.

In the seventies when sculptors competed within the guidelines of the “bigger is better” theory, Price built his reputation making objects of diminutive scale and startling beauty. In this new series Price revisits the “less is more” posture with a vengeance. Objects rarely bigger than a foot in any dimension offer some of the most satisfying examples of color and form of Price’s career.

While the geography of Taos, New Mexico (where Price resides part-time) remains a central source of inspiration for his structural imagery, aquatic life and terrain have also lent their formal influence to this new work. These, as with virtually all of Price’s works, reflect upon subterranean forces and the dichotomous relationship between the internal and the external. The chromatic layered scales on the exteriors of these works are taunted by the stark darkness of their interiors. Price paints and removes layer upon layer of contrasting acrylic colors (including metallic and pearlescent finishes) producing chromatic tendencies that hearken everything from sixties commercialism to other-worldly phenomena.