Painting (Painting)

These two large format untitled paintings by James Collins feature the artist’s hallmark technique, which transforms abstraction into an optical illusion that creates dimension, space, and mass. These particular paintings expand on the optical illusion referred to as a moiré pattern. Moiré (or fringe patterns as they are also called) are known in mathematics, physics, and art as a type of interference pattern that can be produced when a partially opaque ruled pattern with transparent gaps is overlaid on another similar pattern.

Painting (Painting)

In this painting made in 2014, which is part of a series started in 2013, the artist dismantles the traditional painting process. Putting aside any formal intervention, the artist lets the membrane slowly soak up white monochrome paint through a transferring technique before removing it. In some places the structure of the canvas can be seen, while other places of the canvas are purposely blurred to evoke the texture of the material used.

Installation (Installation)

Like much of Aran’s work this sculptural installation is akin to a riddle. It has no exact meaning, and it can be somewhat frustrating, yet with careful inspection it begins to reveal unexpected information. In his 2014 exhibition at Peep-Hole, Milan, where this work was shown, Aran referred in a series of new works to Mancala games.

Painting (Painting)

A combination of planning and improvisation, control and lack of control, this painting is typical of Amm’s work. With its intimations of the sublime and reference to the works of Ad Reinhardt and Mark Rothko this painting extends the Romantic and modernist traditions in a perceptive way. These are subtle, slow, delicate paintings that evolve over a period of time—the product of long periods of contemplation.

Painting (Painting)

On the artwork, Rommel states: “I was reading Jonathan Franzen’s new novel Purity, where they take a lot of walks through the jungle in Uruguay, or Paraguay, I can’t remember. One of the characters takes a walk and jumps off a cliff; it’s kind of dark. The painting reminded me of a long, dark, and very serious walks in beautiful places.” With references to Howard Hodgkin in the incorporation of the stretcher into the painting and certain kinds of mark making, to Matisse’s cut outs and to the history of Cubist collage, Rommel has created a dreamy oeuvre that manifests her strong conceptual interest in process and unmapped journeys.

Photography (Photography)

Eileen Quinlan’s abstracted images, like Swipe , rely on the manipulation of photographic materials inside the studio itself, and reject the exterior world for complex interrogations of the medium.

dbqp is a photographic series in which the artist handles an enlargement of the plate with three cutout windows which was used for L’Archipel (The Archipelago) in collaboration with Pierre Leguillon. The previous work took the form of four photographs presenting a page illustrated with three images. By studying these with more attention, it is possible to figure out that these objects were placed behind the pierced card with three openings.

Installation (Installation)

This work emphasises Kitty Kraus’s involvement with process, with alchemical transformations associated with Post-Minimalist aesthetics, Arte Povera, Joseph Beuys and Robert Smithson. The loss of form or its dissolution is at the heart of the series of lamps encapsulated in blocs of ice with liquid progressively spreading on the floor. The bulb is embedded in the ice.

Painting (Painting)

Marcelo Cidade interrogates the city, architecture and urban planning. This architectonic drawing proposes modular possibilities, adaptable variations based on the form of the concrete block (a material which is often actually integrated in his practice). The “re-definition” announced in the title is in construction, in process, under development, in flux.

Sculpture (Sculpture)

Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination. Displayed with the cardboard boxes (and their shipping labels, which chart the journey in a different way) that contain them during the journey, these damaged forms draw from minimalist sculpture, and conceptual artworks that focused on distance, travel, and virtual connections.

Painting (Painting)

Reeder’s works often start with language—and his Pasta Paintings are no different. After the phrase for the title came through his head, the artist set about trying to figure out how to make a mark with pasta. These paintings are the result, made using the pasta as something of a stencil, with the paint being applied after the noodles have been scattered on the painting’s blank surface.

Drawing & Print (Drawing & Print)

Boat with Legs

Pink Man Walking on Boats with Woman Following

Sculpture (Sculpture)

For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms. This technical rework allows for a clinical inspection of the material contents of the piece and the resulting slanted industrial monolith echoes minimalist sculpture, although with a different expressive texture. Indeed, Untitled can be seen as a contemporary pyramid with a painterly surface.

Photography (Photography)

Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines. Houck transforms these simple outputs physically, folding, lighting, photographing, and re-printing them, only to fold, photograph, and re-print again. An MFA graduate from UCLA, John Houck works primarily in the medium of photography and specializes in still-life vignettes.

Sculpture (Sculpture)

In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium. The Glossies are drawings, rectangular forms applied with blank ink and watercolors, which fill up the sheets parallel to the edges except for a small margin. Finally, the whole paper is covered with an adhesive plastic laminate, which gives it the shiny surface of a photograph.