I happily accept the Artist Challenge and though I am not a visual artist, I am a writer of different sorts, at turns critical, narrative, and poetic. So I will be posting excerpts from previous writing, some with pictures when applicable. The first couple are from my 1997 review of Roxy Paines solo exhibition at Ronald Feldman Fine Art, which appeared in zingmagazine. Model Painting (1996) and Model For An Abstract Sculpture (1997) both represent a system of communication developed solely by Paine, edited and constructed like hieroglyphs. In the first, he has been able to isolate solidified flesh colored polymer brush strokes; in the second, he has accumulated various blister packs. Blister packs are part of the refuse of daily life, something which Paine has been able to utilize with regard to ideas of both positive and negative space inherent in their forms. In other words, its initially difficult to view them as forms created to wrap around other forms. But within their model skeleton they approach a sense of anatomy, of social and political connections between shapes. Each pack then becomes a house in a town, a cell in a body, or a symbol in a system of scientific order. However, the objects accumulated with these works are neither mere simulacra nor Dadaesque mind games made flesh.The shapes of the objects, if they can be called that, whether blister pack or polymer brush stroke, suggest only the vaguest of forms, creating an inventive and playful acrostic of formal origin. Their organization is the creation of the new language being formed in us.
Posted on: Mon, 26 Jan 2015 22:02:38 +0000
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