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Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. Sell on Amazon Start a Selling Account. AmazonGlobal Ship Orders Internationally. One might even call them geometries of inquisition, not only for their implicit anti-Platonism but also because they expand our notion of geometric expressivity over and against the rhetoric of discursive positions. While being indebted to the ideologues of design that extend from the Arts and Crafts movement to the Bauhaus to Art Informal and even certain members of American Abstract Expressionism, Lee's work still sets out for new ground in picturing an inbetween space of desire and dissonance based on the idea of the infinite as a place of instability, or of the absolute rendered in a manner that is irresolute.
Such is the nature of Lee's contribution to how we understand the contested field of experience we have come to call 'the contemporary'. Before finishing his M. Presently, Lee works as the collections manager for the "Phyllis and Ross Escalette Permanent Collection of Art" at Chapman University, where he also teaches drawing and design. However inviting and accessible Knight's paintings might seem, to anyone who has encountered them in person, they are contradictory and complex pictorial events.
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At first glance they appear to be a unique marriage of postmodern syntheticism and modernist organicism — being as playful as they are analytic and as ironic as they are 'invested'. Upon a second take however, one quickly notices that these architectonic pictures are not so much about essentialism or parody. If anything, they present us with a series of questions about painting as an artificial construct or even as a dialogic design. One could even say that in Knight's last few bodies of work the conditions that frame the pictorial sublime have been transmuted into a kind of post-human space built on the use of artifice and the disruption of certain codes of mark making.
Neither strictly landscape based, nor 'pure' abstraction, Knight's pictures inhabit an inbetween space that is as much about unhinging the relationship between sign and signified as it is undermining the logic of any given historical program. If we were to attempt to define his painting practice in positive terms, we could say that Knight's pictures are genre bending — a dynamic re-synthesis of past idioms. Within Knight's works one might come across the pallet of Halley or Schutz, the lost horizon of Hodgkins or Mitchell, the geometric naturalism of Diebenkorn or Feitelson, the push and pull effects of Hoffman or Albers and even the subtle sense of light attributed to Scully or Guston.
And yet, Knight's works are irreducible to these influences because they come from a place that is more informed by our experience of the present, and especially a present dominated by the feeling of oversaturation.
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It is an amazing trick which his works perform, being not so much a cartography of the landscape as a vivisection of art historical motifs and different compositional stratagems. In fact, in the wake of postmodernism, we might call his pictures temporal topologies or inerrant indices of a post-futurist, post-historical, post-avant-guard aesthetic.
Afterall, Knight's pictures are not so much about deconstruction as reconstruction — but more specifically, a form of reconstruction that doesn't ignore all the sutures, scares and trauma of confronting the affective skin of history that is abstract art. However, in Knight's new work something slightly more nuanced is emerging, something we might even see as being a little more cosmetic if we take the idea of embellishment to be a delicate science of integrating formal relations.
Indeed, the cosmetic is not shallow, but a deployment of carefully applied techniques that make the play of revealing and concealing into a public affair. And in Knight's newest works, deft and delicate decisions abound, providing us with a greater sense compositional nuance, a greater degree of naturalism and even a gentler orchestration of the sense of passage from one form and color to the next. This is not to say that his pictures aren't rigorously indebted the plastic problems of painting, only that that the sense of plasticity that permeates his most recent works is just now verging on that forbidden territory of twentieth century abstraction — the construction of the beautiful as an entree into the sophisticated.
His work has been shown in several west coast cities, including Seattle and Los Angeles. If anything, Aguayo's work ossilates radically between a kind of neo-primitivism, a kitschy form of outsider art and the recent turn toward 'provisional' aesthetic experience.
However, it is also worth noting that Aguayo's engagement with the improvisational urge is everyewhere informed by his last few years of work which have largely consisted of making collaged paintings out of his previous paintings. A key difference however is that his methodology feels more like a personal mix tape rather than a massified remix of abstraction's greatest hits.
This shows itself in a certain sensitivity of selection, a deft sense of touch and even a longing for sentimental and authentic experience. But does this kind of subjective approach to abstraction end up returning us to the site of a pictorial crisis greater than the problematic of modern experience, or even the impasse of postmodern painting, i. If we follow this line of thought to its natural end Aguayo's work appears not so much to be a type of painting about reappropriation as it is about self-appropriation; not so much about collage as it is decollage; and not so much about resemblance as it is dissemblance, transformation and the migration of motifs.
Aguayo has finally begun to make a new aesthetic out of his own vocabulary of interchangeable motifs. His recent works simulate some of the taped, torn and edited effects of the previous collage works, only such aesthetic ticks are now acknowledged as part of the process of making itself. One could even say they talk about the painterly process as a means of delimiting the pictorial field of exchange. Playing with this kind of auto-referential practice evidences something of a mixed display of the emblematic made banal, of timeless geometries debased or of a cartography of symbols set to work against each other.
Such productive contradictions allow us a space of contemplation to think about the presuppositions of the present and the possibilities of engaging with a different form of aesthetic hermeticism. And yet, in Aguayo's work yesterday's imagery remains tied to the present, the instance and the artifact and as a means of demarcating the terms and conditions of contemporaneity.
In painting, the ground is afterall, a thing in-itself, an open substrate and a pourous breathing surface. And yet, the ground also refers to the act of preparation.
To have or produce a ground is also to prepare a ground. A ground is not given. The ground is what gives itself as groundless, ungrounded, the void, or simply, the unmade.
Such a radical pairing down of means leaves us questioning the values of modernism writ large, and especially the idea of medium specificity as a type of preparation, both for understanding the conditions of action painting and the active subject. If anything, his works are a reminder that the failure of the subject to coincide with itself, both the subject of painting with its materials and subject of expressionism with authorial intent , reveals the very suture that strives to foreclose any discussion of the subject as-such.
This occurs not only through the introduction of a medium without preparation but also as a result of the warping of the fabric around the constituent elements of painting.here
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In this regard, Perez's imagery disrupts the idea of autonomous art by presenting the mark as an act that both pre figures and fractures its own ground, ultimately pulling the terms of how we think about medium specificity right out from under us. They are not even what many art theorists now refer to as works that inhabit the post-historical condition.
These ongoing shifts can be loosely charted through three overlapping transitions. Over time he cultivated a selection of motifs that dissimulated other pictorial milieus, ultimately producing pictures that are internally at odds with the implicit logic of their own hermeticism. These new pictorial arrangements were often given over to discrete mutations, derivations and what might otherwise be called discrepancies that are diachronically and synchronically mismatched — images of a kind of systematic inconsistency.
In short, his earlier works were not so much a foray into unrestrained hybridity as a farcical form of non-objective realism that took prior forms of abstract art as subjects of the present, and even as subjects of re presentation. However, a second movement in his oeuvre began to emerge over the course of the last few years. This passage in the development of his artistic practice was not so much focused on the notion of slippage or indeterminacy, but instead, on the idea of pictographies that seem to float, not literally of course but optically.
This occurred not only because Galling often gessoed and sanded his canvases and hard board substrates until they took on the quality of pearlescent marble but also because the passing of time had engendered a certain sense of virtuosity in how he lays paint down on the canvas, sets a particular stroke and fixes the indexical quality of a rather supine material. In this period of experimentation Galling seemed more focused on hiding his considerable skill beneath the pleasure of affective qualities rather than redressing history with a capital H. But how are his works an example of this epistemological shift — how are they involved in courting a post-academic, post-avant-guard, post-paradigmatic play of signification?
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