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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.

格栅对她的灵感和流程的直接描述强调了她的目标,让绘画远离源头,直到它居住在“自己的颜色气候”中。她的描述比我能想到的任何东西更好,所以我会从那开始。

克莱尔烧烤,“鸥”(2021),油亚麻,74 x 56英寸

建立薄的薄纱层的洗涤颜色,烤架漂浮在油漆多孔层内的各种形状和标记。在“鸥”(亚麻布上的油,74乘56英寸,2021),在纵横交错,透耳灰色笔触中,我们看到了许多形状的层叠,不仅仅是可行的形式。

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.

对她材料的不同粘度敏感,地面从半透明到粒度变化,从湿到干燥的笔触。“颜色气候”范围从浅纹棕色到红色到深灰黑色,每次辐射自己的低沉光。她的笔触包括固体标记,条纹表面和精致的抚摸。然而,对于透明脆性传达的所有脆弱性,绘画中几乎相反的东西:形式和标记的低调韧度变得可触及。

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.

通过推入无法行动,格栅避开了与妇女和儿童试图表达悲伤和纪念的儿童制造的19世纪文物的同义词。

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。

关于烤架的一个品质我特别喜欢在采访中,我读过她的直接。她强调她的过程和吸引她的工艺和吸引她的大主题,而不是引起自己的工作或对她的工作的意义,而不是引起关注她的工作。尽管如此,这并没有为她写下和签名的画廊新闻稿的准备,我认为与对她的工作的讨论有关。这就是她开始发表声明的方式:

我的朋友玛丽14年前有一个流产,她命名为婴儿金鱼。我永远不会忘记那个名字。她有一种女孩,这是一个女孩,但很快就会发现,所以她选择了Cass。她建议我命名我丢失的那些。我在八个月内失去了三个。这是一年前。她以为它会有助于治愈我的心,给一些闭包来称之为名字。我想我们名称要展示爱情,纪念,让生活,放手。

A little later, she writes:

这些绘画不是关于悲伤或损失或任何真正的东西,但他们已经在它和它中制作。他们已经吸收了它,被它触及了。在过去的几年里,他们被沉浸在其中,淹没然后耗时,随着时间的推移,在版本的版本上随着时间的推移缝合。他们现在准备好了。他们有他们的名字。

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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约翰瑙

John Yau发表了诗歌,小说和批评的书籍。他最新的诗歌出版物包括一本诗歌,单色进一步冒险(铜峡谷出版社,2012年),以及...

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