A blinding sea of light. Shade.
A cover against anything right.
It bounces and shoots inwards.
A blinding sea of light. Shade.
A cover against anything right.
It bounces and shoots inwards.
0.7% Klein Blue
David Osbaldeston’s occasional series of Notices draw upon the territory of ‘Institutional Critique’, which articulate the artist’s ongoing interest in the relationships between cultural events past and present.
The Notices aim to act as visual and ideological reminders of C18th or C19th leaflets or posters that could be attributed to radical or political movements of the period and produced as agents for change.
Their visual language is now charged with fixed meanings that have long been overtaken by developments in both sociology and technology. The posters are digitally reproduced inkjet prints of drawings that aim to mirror the urgency and authority of the printed word in a contemporary situation that increasingly demands change under quite different circumstances of cultural production.
Long since confined in any commercial sense to the dustbin as a form of image making, the hand-made etching presents itself as an outmoded technology. In an ideological battle of inappropriate wills between the hand-made and mechanically produced; like some bastard little brother of punk king Jamie Reid’s visual lexicon, or re-articulation of Tristan Tzara’s agit prop. A series of highly subjective reflections and observations fill the yawning surface of a billboard to produce a forced marriage of inconvenience. The laboriously hand-produced images form to complete a single massive etching of a photocopy of a drawing of a collage, rendered in black and white as an image of an image. The authority and logic of design is interrupted by digressive voices, as appropriated artworks appear as cameos, interspersed with an obsessive culture of pie charts and accountability – explored as construction, as fiction.David Osbaldeston’s work is concerned with the production of art and its positioning and reception, both within the gallery tradition and the structures that surround it. His ongoing publishing project Stellar uses drawing, collage and text to produce a critical response to the work of artists and galleries. In Your Answer is Mine obsolete visual languages that once penetrated the public consciousness are recalled as posters and pamphlets form reference points in an advertising copywriters’ allusion to describe what it might mean to maintain a radical view in order to affect one.
Made for a working situation where daily life is an ecosystem of objects and ideas in constant rotation and transition, the installation is made up of connecting-parts. Active ingredients such as gaps, openings and closings, and a series of graphology reports from previous visitors, offer covert methods of engagement. Central to this and occupying the entire length of the office floor is a fixed railing system upon which effortlessly glides the Mechanism For Future Reference: a tall idiosyncratic wooden-built structure, designed as a moveable sculpture and operational machine.
Held in place by black solid rectangular ‘memory blocks’ the mechanism places the viewer at the behest of technology, enabling them to travel backwards and forwards in space and time. The viewer will have access to the arrangement of artworks displayed in cryptic sequence above and below eye level. (Top & Bottom.) Like some out-of-kilter reference to a future history stuck on repeat, Mechanism For Future Reference inhabits a space between utilitarian workingfurniture and art-object-as-abstract-machine that kaleidoscopically helps reveal time as a substance folding in and against itself.
In a bid to form a parallel universe somewhere between the physical and ephemeral, images are fashioned into objects and objects are formed into images. The works are presented in an unexpected alignment of physical thingsto produce new meanings that require the physical act of opening.
Cruz-Diez has consistently worked through his career focusing solely on colour, line and (viewer) perception. His visual style can be consistently identified throughout his work spanning his entire career. His work contains an element in which the viewer actively participates in viewing the work because the colour changes and presents a sensation of movement as the relative position of the viewer changes. Cruz-Diez uses the moire effect to produce this sensation of motion by his particular composition of lines. Because the image of his work changes as the viewer changes locations, he refers to this changing effect of the image as “vibrations.”
Cruz-Diez embarked on a period of intense study where he read a great deal on art history. He identified that to find something new – even the tiniest gap – he would have to conduct meticulous research, much like a scientist, using a methodical approach. The works of colour theorists, scientists like Chevreul, literary figures like Goethe, artists like Albers, Vasarely and Velasquez and the Impressionism movement informed his thinking.
Eventually Cruz-Diez came to the realization that color had never been the subject of any artistic discourse. Always dismissed as a mere consequence of form, it spurred him on to further study the eye, perception of color and the way light changes.
Gradually Cruz-Diez developed his discourse; that of color in space, devoid of form. His canvas’ reflect the ever-changing, ephemeral and mobile nature of color unlike the work of the Impressionists, which showcased the changing color of light but only in a motionless way that was in the past, not the present.
He uses lines because it is the most efficient tool, devoid of symbolism and leaving only colour without anecdote. Therefore colour becomes a matter of personal preference, which is an emotional connection. Viewers connect with the colour and through this find a poetry in his work.
Over time Cruz-Diez developed his medium of showcasing colour using the latest technology – always referring to the same principles – but demonstrated using increasingly accurate methods.
Integral to this is the notion of integrating people into his art. This is both out of necessity to accelerate the production of a piece – where assistants and family members follow his precise plans – and in the role of the viewer, where he changes the relationship between viewer and artwork from separate entities to that of a fundamental part of the works.
Yago Hortal is a contemporary Spanish painter known for his vibrant paintings inspired by Abstract Expressionism. Born in Barcelona, Spain in 1983, Hortal has said: “I look for a balance between chaos and order, something like a combination between a chess game and a boxing match.” He manipulates the surface of his works by marbling, splattering, and smearing thick, fluorescent acrylic paint in an urgent, spontaneous manner. His paintings have an internal logic, in a similar manner to American artist Tomory Dodge. Having exhibited at Rooster Gallery in New York, Egbert Baque Cotnemporary Art in Berlin, and Espacio Atlantico in Vigo, among others
The color is the main protagonist of the painting that presents Hortal Iago at the beginning of the year in the gallery Senda. Vigorous strokes added to the use of saturated tones show a suggestive visual impact which have great harmony and boldness, multiple shades of color. The forms and combinations of this wide range span across the fabric, a process that culminates in the spread of the paint off the canvas, bursting into the architectural space. Thus, Hortal uses color as a vehicle to convey vitality and impetus to use pictorial masses contributing to the work severe expressive value, with a sculpture or relief.
The execution of the work gives the artist the ability to establish a relationship between chaos and control. This link is manifested by a directed to a natural ease contained, which encompass the clutter correspondence between the elements and the visual coherence of the composition. Use a variety of random shapes, waving and paintings jets to drive the route of looking around the canvas and provide a sense of movement to the representation. The transmission, as accurate, gestures to the fabric, and perceptible evidence of the working method of execution attributes are neat, in an abstract way to express that combines spontaneity with the rational through a formal vocabulary covered suggestive in a large domain of pictorial resources.
The exhibition ‘H-H. Halley meets Hortal’ has come together after eight months of conversations, e-mail exchanges, and the cross-posting of ideas, studies, and drafts in which both artists responded to each other’s practice.
This led to conversations about things they have in common — and others that differentiate them — inside the world of abstract painting. It highlights the New Yorker and the Catalan, experience and youth, rationalism and randomness, geometry and gesture, two approaches to the mastery of color… a back and forth dialogue about what unites them and what distances them.
At Senda, each artist will exhibit three large paintings, conceived of with the goal of establishing a conversation. In addition, Peter Halley and Yago Hortal have created five collaborative works on paper, signed by both artists.
Section One: The aesthetics of Colourfield, minimal, hard edge, serial and post-painterly abstract painting.
Section Two: ABSTRACT EXPRESSINISM AND SIZTIES COLOURFIELD PAINTING
Like Richter, I have closely looked at Rothko throughout my progression and practice development. I have studied his method of paint application, mainly the layering of thin coats to build a deep void space of colour. I have concentrated on his choice of colour, principally his colour pairing. I find his piece that use conflicting pigments, more in tune with my current colour choices. I am working with mainly highly tuned, vibrant pigments similar to those I experienced in NYC, but using those colours to create a conflict. This conflict stems from a personal standpoint, reflecting the inner confusion that I am currently experiencing. Immersing myself inside of these pigments (through light), encircling and cradling me at the heart of the conflict, allows me to untangle and manoeuvre my way through.
Joseph Albers (Glass, Colour and Light)
A New Light: Joseph Albers’s Work in Glass
Albers: Glass, Colour and Light