Ellsworth Kelly’s seamless monochromatic abstractions are derived from real-life observations and replicate the shapes, shadows and other visual sensations experienced in the surrounding world. The line, form and color of the works elicit a physical and instinctive impact.
“Making art has first of all to do with honesty. My first lesson was to see objectively, to erase all ‘meaning’ of the thing seen. Then only, could the real meaning of it be understood and felt”.
“I’m interested in the mass and color, the black and the white, the edges happen because the forms get as quiet as they can be.”
Artist Lee Ufan submerges his brush in an emulsion of ground mineral pigment and animal-skin glue, and then marks the canvas with regular dabs or a single gestural stroke until the color runs dry. He repeats this act until rows of gradually fading marks fill the canvas, mimicking the open-ended situations of lived experience & eliciting a visceral experience of time’s tender and unimpeded passage.
John Divola documented the devolving extant conditions of an abandon beachfront home, littered by its decaying furnishings and fractured furniture. The artist however, did not passively document the decay of the space but played an active role, rearranging bits of detritus, and improvising silver graffiti into primordial forms and enigmatic patterns, to create a volatile sense of place. A space suspended precariously in the breach between the man-made which cradles us in the false security of home, and the abyss of the sublime.
“My participation was not so much one of intellectual consideration, as one of visceral involvement.”
Sanctioned avant-garde artist Ed Ruscha’s abbreviated landscapes and panoramic skies bear bold clichés of phrases so overused they have lost their essential meaning. The deadpan canvases evoke images of the pop mythology that characterizes Los Angeles and comment on the ways in which print mediates our experience of the world.
In frugal compositions drained of details, across bleak featureless landscapes and upon dour faces, Wilhelm Sasnal’s static paintings evoke feelings of arrested melancholy.
The artist’s personal history and the history of Poland are central to the content of the work and the corresponding affectless details describe other’s diluted personal accounts and indistinct memories.
“I find it suspicious when things are too easy. Hardship is part of the work.”
Folie à Deux, French for ‘madness of two’, is the clinical definition for a psychosis in which delusional beliefs are transmitted from one individual to another. Entranced by case studies of the condition, artist Rachel Howard has created a series of intricately linked paintings that address the notion of two people forming such an intense or symbiotic relationship. Each work is created in the artist’s trademark style in which she allows household paint to separate, uses the pigment to paint with and employs the remaining gloss as varnish. She then permits the wet paint to seep down the canvas, so that once dry, it seems to be clinging to the surface, a process that mirrors the acts of desperation that encapsulate the essence of this clinical condition and nod to the fragility of the human condition which can be so easily unhinged by those around us.
Fiona Banner’s printed text ‘wordscapes’ unfold in a cadenced stream of acrimonious words describing a blow-by-blow account of events. Taking the form of solid blocks of text, she has retold entire feature length films as well as treated the classic art-historical nude, by observing a model and transcribing the pose and form.