Press
“Cris Worley has a favorite artist of mine on display this weekend. An unsung hero of abstraction, Trey Egan stays consistent with his colors and brushstrokes. I feel like I am part of a piece of music when I am in front of his paintings. I find it easy to get lost in the movement of his painted gestures.”
– Todd Camplin Art Critic MODERNDALLAS.net
https://www.westword.com/arts/denver-art-galleries-offer-reason-to-give-thanks-11557003
Trey Egan’s “Spark and Flicker,” a mash of colorful gestures that has bold yellows, greens and blues coming together on a canvas that’s left intentionally white in the background. It’s one of those pieces that will stop and hold you as you examine its mix of solid, flat fields of color mingling with expressive, textured marks that keep it in constant motion.
– Ray Mark Rinaldi; Art Critic Denver Post, December 19, 2018
http://www.visualartsource.com/index.php?page=editorial&aID=4239
Trey Egan at Cris Worley Fine Arts ModernDallas.net
Modern Dallas – It’s Coming To A Close
Texas Biennial 13 – Digital Book (pg. 48 – 49)
“…Egan has since realized that the subject matter is less important than the energy and controlled chaos of thoughtfully placed shapes and color. This gift, to suppress the conscious and rely on the subconscious to direct his work, has resulted in the recognition that a person only has to understand the next step to make the right decision at the right time. Drawing inspiration from two colors, or a symbol, he will listen to the signals he gets within the privacy of his own studio, emerging from the fog with the force of a freight train.”
“Trey Egan’s solo show “Be Still With Me” at Cris Worley Fine Arts was a game changer. I suddenly realized his work was not about each individual mark randomly applied, but rather an intuitive stroke by stroke story of paint applied in time to create a truly all over effect of abstraction. This is not your AbEx rehash, but rather Egan has returned to the heart of abstract art. Egan goes back to Kandinsky to draw from his ever shifting and moving composition.
Just point to a random spot on Egan’s canvas, follow that paint mark to another, then move your eyes across the surface and allow Egan to guide you around the surface; you will find yourself lost in these shapes and brush strokes. You are experiencing the unfolding story of paint and the painting process. No attempt to fool you with something representational; Egan wants you to journey with him to a space and time that his process played out…”
– Todd Camplin ModernDallas.net January 25th 2013
Modern Dallas – Trey Egan – Be Still With Me at Cris Worley Fine Arts Review
Trey Egan’s “Be Still With Me” at Cris Worley Fine Arts “In this show, MFA candidate Trey Egan paints without direct representation. Layered, blended and free-standing micro-environments exist throughout his abstract canvases creating, quite simply, beauty. From texture to dimension, Egan’s work is unlikely to actually cause stillness as the show’s title begs — it’s entirely too full of lusty motion to accommodate inertia. Meditations, however, could certainly latch hold.“
– Jamie Laughlin The Dallas Observer Blog January 11th 2013
The Dallas Observer Blog – Trey Egan, Be Still With Me Review
.pdf file of Modern Luxury Houston “Strife in the Fast Lane”
online version of Modern Luxury Houston (pg. 52)
Trey Egan’s “Systematic Motion” at McMurtrey Gallery in Houston:
“Egan appears to be quite young he just got his BFA in 2008 and is working on his MFA now. But when one looks at his work, there is an unmistakable feel of painting from the 1950s. The brush strokes are vigorous and emphatic. When I look at a painting like Fragmented Ceremony: Systematic Reveal, I see echoes of Willem De Kooning in both the handling of the paint and the palette. There is a choppiness to the work as if Egan is attacking the canvas.”
“…These are works that have emotional content, and that may be the best explanation for why an artist as young as Egan chooses to work in an idiom that peaked more than 50 years ago. It’s an idiom well suited for expressing emotion.”
– Robert Boyd “The Great God Pan Is Dead” July 31st 2012
The Great God Pan Is Dead – Trey Egan Systematic Motion, McMurtrey Gallery Review
“A brace of colorful abstractions by Trey Egan (UNT) displays dexterous paint handling…”
– Ryder Richards “Front Row-D Magazine” October 2011
Front Row D Magazine – 500X: Fresh Meat College Show Review
“Jurors Cris Worley and Erick Swenson found enough compelling pieces to pull together an effective show around the rubric, and to stage it smartly. And there was a healthy diversity of media and mood with which to work as well. Curving up the unevenness was Trey Egan with his handsome abstract “More Affirming Than the Place you Just Left (2011)….”
– Andy Amato “Arts+Culture Magazine” November 2011
