Rome Meat Ruin, 2017
Oil on aluminum and polyurethane
100 3/16 x 18 1/8 x 10 1/4 inches
Fabricated ruin. Grid awareness with color variation in grout and tile. Color as surface or substance; continuous or variable, a matter of perspective and distance?
O obsessivo, 2004
Oil on canvas
110 1/4 x 88 9/16 inches
O illuminado, 2009
Oil on canvas
90 9/16 x 220 1/2 inches
Perspective. Geometry. Roman bath... blood bath.
Labyrinth of unknowns.
Green Sauna, 2003
Oil on canvas
76 3/4 x 114 3/16 inches
Reconciling curvilinear/rectilinear within image as well as work itself.
Round corners of painting frame itself; columns.
Darkness foregrounds interior light; value reveals depth.
Flatness/depth in a Minecraft world.
Cf. Analia Saban architectural interiors (also using bath/shower as subject). See here.
A diva, 2004
Oil on canvas
104 5/16 x 86 5/8 inches
Work that unfolds slowly over time with respect to spatial perception itself a function of light; internal light. Therefore, by extension when I stand before the work, whatever dimension it takes, I am in the dark/ness as viewer.
The Guest, 2004
Oil on canvas
18 1/8 x 27 9/16 inches
An internal violence percolates and is most noticeable when inside uncontrollably becomes outside.
O mistico, 2005
Oil on canvas
35 7/16 x 28 3/8 inches
Painting the negative space (inverting the painting process to call attention to how the relationship between tangible surface and less tangible space are not so easy to perceive as it may seem within a continuous web).
cf. Mondrian below
cf. John McCallister below. also here
Ruina de charque, 2001
Oil on wood and polyurethane
21 5/8 x 81 1/2 x 63 inches
Tile signifies refined process and order above an organic, meaty underneath.
Interior space as both body and architectural layer.
Ruina de Charque - Nova Capela, 2003
Oil on wood and polyurethane
47 1/4 x 104 5/16 x 22 1/16 inches
Interior is either homogenous or heterogeneous, classical or Baroque, a continual movement between such poles, dependent on time and relative spatial position as it pertains to artwork and/or body of artworks.
Overall, I was less interested in these three wall works, the most recent ones in the show. Even though they seemed to make sense as a kind of evolution where interior space bursts forth in relief (a space between 2 and 3 dimensions), they come across as simultaneously decorative and regressive with respect to natural and pictorial space. An image of cracking seems clear enough in its referents of decay and decline within substance. Unfortunately, I keep thinking about the paintings of architectural interiors as well as really old oil paintings, especially the ones with so much surface cracking.
Blue Song - LA, 2017
Oil and plaster on canvas
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