Like the bastard twin of metaphysics, we want art to tell us the meaning of it all.
Artists, like everyone else in the world, are worried about the consequences of global warming in the natural world; moreover, they realize that the damage is psychic and imaginative as well as terribly real.
Nemire’s paintings carry the same obscure emotional charge as video color test bands, glowing stripes of pure color that signal a pause before the start of the video’s narrative. The paintings are all variations on that “before” moment, endowing it with resonance as the primary subject.
Because it is a zany exploration of progress and decay, this is a work that, by its very nature, will unfold and only fully realize itself with the passage of time
The overriding mood in the gallery is inexplicably hopeful, perhaps a subliminal effect of the Buckminster Fuller term, “Tensegrity,” given to the exhibition. Fuller’s theory of tensegrity, the harmonious synergy and tension of parts within an integral structure.
Emily (as she is called) moved from making batik to painting with acrylic polymer on canvas at the age of 78 and in the next eight years produced around three thousand paintings. Their impact, both as an emotionally communicative experience and in terms of a painting intelligence, is staggering.
As an environmental activist, Xiong has created a process-oriented art whose dimensions are quite literally heavenly as well as humanist.
His London retrospective, organized by Nicholas Serota
Vacillation between equilibrium, a consistently busy surface that can be read as a singular gestalt, and the disequilibrium caused by the dark and sometimes opaque asymmetrical highlights that disrupt these linear networks, creates unpredictable rhythms within the iterations of abstract shapes.