When one gets close, the details blur and sharpen. Things become less known. An opening. In uniting 5 artists within the Cuevas Tilleard arena, we wish to inspire thoughts on Scaling. As a group, the artworks present a scale to which a collective position on painting, on space, on materiality is formulated. Anya Kieler, Sarah Faux, Leah Guadagnoli, Kristine Moran, and Les Rogers are all our scaling partners.
The element we are examining is painting; an inherently narrative tool of humanity, used for ages to present abstract ideas. At times, the artists in this group render the representational against abstract form. At others, they redact illusion to benefit the concrete. The push pull effect becomes an apparent technique at play. As a means of examining these devices, a scale should be extended.
The scale is this show.
Scaling is a branch of measurement that involves the construction of an instrument that associates qualitative constructs with quantitative metrics. In dealing with the unidimensional and multidimensional, scaling attempts the difficult task of measuring abstract concepts. A gesture, singular on one canvas has the ability reiterate structural ideas of a different mark of a different painter. They don’t have to look similar, or even elicit consistent emotions, but they resonate a grand, unifying theory of contemporary painting practice.
From an art historical perspective, while this scaling method can easily neutralize the whole of painting and its histories, the artists presented here are more inclined to incidentally mine these legacies for content, motivation, and fodder. They opt out of a binary encampment for the sake of spectral mobility, and all that can be gained therein.
Aligning with this notion of scale, this group works on the verge, and like to teeter on the edge of details both big and small. This show allows the paintings to play off of and with each other, luring the viewer into their constructs, pushing them out and then propelling them forward into another thought.
Where Anya pushes the boundaries of process and sentiment, Leah wrestles with dimension and bigness. In Sarah’s voyeuristic formations, we can see Les’ microscope zoom in a bit closer. And while Kristine anchors her compositions with sweeping gestures, she also enjoys exploring surreal narratives in shallow landscapes.
We like the play.