LA CIENEGA AREA

New York artist Louis Renzoni distinguishes himself from other contemporary romantic figure painters by creating shadowy, monochromatic canvases that entreat you to pull images out of a haze and piece together a narrative that’s barely seen. Looking at these pictures is rather like reconstructing a crime from dark, out-of-focus photographs.

Human curiosity ensures that Renzoni’s paintings will be scanned for clues, but to proceed that way is probably to miss the point. People are there--in the fog of dark interiors, and often in situations suggesting anguish or conflict--but they aren’t quite anchored to the world. Oddly cropped or positioned, and bearing no specific clues to their identity or circumstance, they seem to refer to vague states of experience. In general, they leave an impression of claustrophobia as witnessed in a dream state.

A spiritual aura pervades this work but not of an elevating sort. Renzoni cites some villains in titles: “Caffein,” “Alcohol,” “Thief,” along with one affliction--”Headache.” He also directs attention to urban conditions in “Factory Girl” and “The Apartment” and to such authority figures as “Dominatrix” and “Sister Armoire.” But even with all that linguistic ammunition the paintings don’t deliver a political blow. This is art that suggests social problems while wrapping you in its mood. (Michael Kohn Gallery, 313 N. Robertson Blvd. to Dec. 31.)