Sam Cady stretches the bounds of painting with shaped canvas
At Howard Yezerski Gallery, the artist explores the space between realism and abstraction in ‘Anything: More Parts of the Whole, Old and New’

Self-portraits, childhood drawings, and studies for paintings fill “The Life Wall” installation in “Sam Cady: Anything: More Parts of the Whole, Old and New,” at Howard Yezerski Gallery. There’s also a grid of photos depicting how the artist shapes a painting, “Windswept Cypress, SF.”

It’s one of those wildly meticulous artistic processes that’s at once daunting and brilliant. The wooden backing of a painting canvas is a stretcher. They’re usually rectangular, but Cady builds elaborate ones that hew to the contours of his subjects. One stretcher, before he has even affixed a canvas or picked up a brush, is available to see. If he hadn’t mounted a picture of the curve of hilly roadway he’ll paint there, you might mistake it for the outline of a map of Idaho.

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