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今天是最后一天克莱尔烧烤:有空气在德里克·埃勒画廊,艺术家展览会。金博宝188app我强烈推荐每个人都去看它。在一起,不同尺寸的九个油画和五种类似大小的纸上的作品加起来一直悄然强大 - 而且有力地安静地聚集。

In a time when the art world prizes easily digestible content and flamboyant, expensive gestures, Grill’s resistance to discursive language, well-known critical tropes, the influence of social media, and reductive explication is practically heroic. Her faith in painting — I don’t know what else to call it — means that she is committed to making abstract paintings that cannot be simply or effortlessly translated into meaningful sound bites. She believes in paint’s capacity to conjure unnamable states and feelings.

In a statement that Grill made for the artist-run magazine马克,她说:

My work often borrows from antique embroidery samplers. I like their obsessive handiwork, gorgeous materiality, their somber mood and feminine energy. I unravel their imagery, layering over and then picking at it with brushes and fingers, burying it and dusting it off until each painting seems to breathe and buzz in its own color climate.


克莱尔烧烤,“鸥”(2021),油亚麻,74 x 56英寸


Embedded within the painting’s gossamer streaks of whitish gray, the aggregation of different-colored forms and marks, from reddish-pink to browns, blues, and various off-whites, seems to be preserved in the slow tumult of semi-transparent brushstrokes. Grill applied wide, gray, veil-like brushstrokes along the sides and top and bottom edges of the painting, evoking a state of containment.


安装视图,克莱尔烧烤:有空气at Derek Eller Gallery, New York

While the marks and forms are abstract, they summon associations with ribbons, cursive letters, children’s drawings, dried flowers, mittens and baseball gloves, bananas and scimitar moons, locks of hair, wreaths, girls’ dress collars, and pieces of fabric. The compositions are gatherings of these scrap-like shapes, which one might associate with domestic labors, such as sewing and patching. And yet, even as these correspondences come to mind, they float — like Grill’s forms — beyond the realm of names, leaving the viewer in a state of nameless looking.


在她的作品中,我看到一个艺术家同时excavating and burying forms, with particular attention paid to color combinations as well as the relationship between solidity and transparency, names and namelessness. Her floating forms express a world in a state of unavoidable change. The muted light emanating from these paintings elicits various aspects of one’s interior weather. The feeling I get from them is paradoxical; they are joyous and melancholic. They memorialize a cluster of emotions, memories, and longings without ever specifying them.

克莱尔烧烤,“艾米”(2021),纸上的油,19 x 15英寸框架

在图纸中,它通知绘画,但构成烤架内,字母和几乎清晰可清晰的单词在烤架中独特和独立的工作体。“amy”(纸上的油,19乘15英寸,2021)是一种不具巧之肌 - 被粉红色抽象花朵界定的对称成分。这是艾米的肖像吗?如果是这样,它是如何反映她的?这是格栅工作的主要优势之一:即使她在标题中使用名称,姓名与图像之间的连接也绝不是文字或清除。



A little later, she writes:


克莱尔格栅那“Hare” (2021), oil on linen, 64 x 46 inches

We all live in time and there is no escaping it. However, it is one thing to seek or make distractions and another to shape your passage in time, while remaining conscious of the outcome. When Grill writes “these paintings aren’t about […] anything really,” my respect for her deepens. Rather than making any claims for her work, she invites us to be open to them and to discover what inchoate feelings they stir up in us, what states of melancholy and silent joy they might provoke. I sensed that the pleasure Grill gained from these works was in making them, rather than producing a product.

Products are based on the idea that naming is a form of possession and ownership; it gives the one who names dominion over the ones who are named. In her paintings and works on paper, Grill shows us that there is another way.

克莱尔烧烤:有空气在4月24日继续在Derek Eller Gallery(曼哈顿300号街道)。



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