NYAB Event - Carrie Yamaoka "stripped.striated.poured"

Carrie Yamaoka "stripped.striated.poured"

Storefront Ten Eyck

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Carrie Yamaoka makes paintings that are deeply involved with materiality and process but not with pictorial imagery. All of her work has reflectivity built in whether it involves stark, though malleable, verisimilitude or a more muted receptivity to light, making appearances changeable depending on the vantage point of the viewer. The viewer becomes a part of the picture, becoming simultaneously an agent and a subject. As the viewer engages and spends time looking, vistas of indeterminate spatial depth open up and quiver on the threshold of legibility.

Artist/gallerist Keran James has written aptly about Yamaoka’s work for her 2011 exhibition at Studio 1.1, London, “The minimalist parameters Yamaoka works with are dove-tailed with exquisite precision and the paintings become almost a recording medium as though light had a different speed, was slowed for us to become more familiar with our temporary presence. But light nevertheless reaches the mylar more quickly than we can reach an understanding of its journey… and returns to us in a dizzying moment of loss and recognition.”

The artist writes of her practice, “Photographic ideas, issues and processes inform my work. The layer of reflective silver mylar film, which is always present as a ground in my paintings, is analogous to the film plane of a camera. Here, the image is never taken, apprehended or fixed. I am engaged with the antithesis of the decisive moment. The viewer is never static and neither is the picture. I am interested in that liminal moment when freshly exposed photo paper is immersed in the developer tray and the latent image begins to form but has not yet coalesced into a recognizable picture– the moment of suspension, between the process of becoming visible and the legibility of form. I strive to capture something of that dynamic, to invite the viewer into that fleeting and heightened moment. ”