NYAB Event - "Night Fishing" Exhibition

"Night Fishing" Exhibition

Thierry Goldberg

This event has ended.

Through abstraction, these six artists track the spaces between the knowable and the unknowable, angling after an ever elusive meaning.

The work of Kadar Brock shows how abstraction doesn’t offer a clear path for the artist. Brock takes this position quite literally by rolling a set of Dungeons and Dragons dice to determine the course of his painting—the number of marks he will make on his canvases, and the titles he chooses. In a similar exchange between sense and nonsense, Logan Grider’s paintings are a constant play of whimsy and precision, flatness and depth, movement and stasis. Harkening back to modernist art, the crisp, elegant geometric shapes in Grider’s work exude a quiet sense of loss and remembrance that is countered by his sometimes comic clash of colors. As in the work of Grider, the paintings of Joyce Kim border on recognition, representation. Kim’s canvases are composed of swashes of flat color and an array of abstract shapes that are often on the brink of the sculptural. These backgrounds of solid color, in contrast with the agile, more fanciful forms that are painted or placed across the canvas, suggest a movement between the ironic and the nostalgic, the humorous and the melancholic. By foregrounding the work surface above all else, Luis Macias also exposes the rift between the representational and the abstract. What remains are the traces of process: spatters of paint and blue strips of what looks like painter’s tape, creating an ambiguity between what constitute the signs of manufacture of the work, and what can be defined as a finished piece. The paintings conjure up cosmic gray atmospheres, which are interrupted and tempered by a myriad of flat strokes and dashes. Like Macias’ work, process is prioritized over finished product in Mark Schubert’s sculpture. The artist’s aggressive, sexual, and quirky combination of materials comprise the subject matter of his work. By marrying or juxtaposing the incongruent, Schubert’s sculptures flirt with the strange, and yet at the same time they unmistakably harbor associations with the more tangible and everyday. In Stas Volovik’s paintings, meticulously rendered geometric abstractions are placed on broadly painted backgrounds comprised of looser strokes. These shapes in turn clash and harmonize with the spaces in which they exist on the canvas, in a kind of dialogue of color and style that is never quite resolved. Volovik adheres to a visual aesthetic where “form is most important,” and “everything is reduced to the visual impression which is indescribable.”

Media

• Painting
• Sculpture

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