5 May – 9 June

ANOKA FARUQEE
As Far As the Eye Can See

Anoka Faruqee’s paintings are intensely colored and laboriously
produced. Her process exploits the relationship between the
spontaneous, authentic occurrence and the methodical
construction.

One segment of her work involves diptychs, in which one painting
is made through a process involving chance and spontaneity, and
the second painting represents an attempt to simulate the first
through a labor-intensive, repetitive process. The abstract pours
or gestural strokes of the initial painting refer to Expressionist
materiality, and ultimately to the space prior to consciousness:
the space of nature and authenticity. However, the handmade,
pixilated patterns of the second, ‘copy’ painting ultimately exist in
a frustrated relationship to expression and also allude to a
numerical language common to computer technology as well as
weaving and Islamic tiling. By layering two optical systems (the
expressionist and laborious) these works combine the painterly
with the conceptual.

Another aspect of Faruqee’s work are “fade” paintings, whose
patterned surfaces of various colors seem to disappear or fade
away. Again the illusion is one of spontaneity; one may imagine
that a translucent airbrush, a spill, or even light itself has
interrupted the image. But the shift in hue actually occurs slowly
and deliberately, one handmade gesture at a time.
 
ROLAND FLEXNER
New Sumi Ink Drawings

Roland Flexner is known for his delicate and precise works on
paper, from graphite drawings of skulls, contorted faces, and
ripples of water to more recent ‘bubble’ drawings involving ink,
soap, and the resulting bubble that bursts onto paper.

Flexner’s newest works are evocative, undulating abstractions
based on the Japanese art of suminagashi. During an extended
residency in Japan, Flexner was introduced to this ancient
decorative tradition, involving a highly refined, skillfully crafted
form of ink, or sumi, and water. Sumi is floated on water in a
tray, and manipulated into shapes even as it moves on its own.
Paper is dipped onto the surface of the water to transfer the
image; in the few seconds before it dries, Flexner can alter the
image in various ways, with a brush or by tilting, blowing on, or
blotting the ink.

The resulting works possess a sense of deep pictorial space,
great complexity, and conjure numerous visual associations:
rocky landscapes, fungus, ice-encased trees, patterns of
erosion. They could almost be mistaken for photographs by the
rich black and slightly granular, silvery texture of the ink, and
the sharp ‘focus’ of the image. While the tiny, precise gestures
of the artist are a crucial element in the process, these works
inevitably derive from the vagaries of the materials and their
reaction to the quality and motion of the air, the currents of the
water, and the force of gravity, and thereby defer ultimately to
chance and nature, but with the most astonishing, seductive
results.

 

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Freehand Fade to Magenta Ground, 2007
 
 
 
Untitled, 2007 (SN 92)