Through the process of considering paintings, and placing them in proximity to something other, (object, person, space, other paintings) the proposition of the individual work can be transformed. Painting âaccents', or âbrush-paint-touches', enter into dialogues creating peculiarities when one object greets another. The singularities of the surface may become both heightened and subsumed; the objects may open or close thereby offering up an opportunity to look again.
Although the works in this exhibition come from various places of logic around abstraction, at some point in their realisation they share a notion of object. Through placing these works together the individual pieces can move closer or further away, colour leaps forward or recedes, forms cement and begin to familiarize in new relationships.
In the aesthetic reconstruction, the ânaturalism' is breached. The object falls apart. The boundaries are abolished. A field of untied relationships opens up: relationships between parts of the object and parts of the environment, as in the painting of the cow, but also with parts of other objects... Henk Engel on Theo Van Doesburg in âTheo van Doesburg & The Destruction of Architectural Theory in Constructing a New World'.
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