Sigmar Polke’s show of paintings and photographs at Patrick Painter’s Bergamot Station gallery comments deeply on Polke’s use of material. As part of his long career, Polke has made a wide variety of work ranging from figurative, to political, to abstract shapes and forms. What is always evident though, and what makes his work cohesive is his interest in process. This exhibition portrays that interest by placing different, but related, bodies of work together.

The exhibition is split between the east and west spaces of the Patrick Painter gallery. The west space holds Polke’s paintings in interference color and dispersion mostly on black paper, which illuminate the gallery. A few series of photographs hang in the east space. The most notable series of photographs is his work from 1986 all titled “Untitled (Uran)”. These works contrast remarkably with the paintings in the west gallery, despite their palpable similarities. What is so interesting about the choice of presenting these two bodies of work together in the same exhibition is not just his use of color, which I can best describe as pastel neons, or the abstract shapes floating on the paper, but the contrasting materiality of the works. He makes the colors glow in both mediums, but each does so in very different ways.

The colors and forms of the paintings sit on top of the paper while the biomorphic forms in the photographs radiate as if they are from behind the paper. The choice of medium has a huge influence on where the light sits. The highlight created in the photograph sits behind the color, as it is really the white of the paper coming through, whereas the highlights in the paintings come from layers on top.

What is so characteristic about Polke’s work is the evidence of chance, experimentation and playfulness. As carefully manipulated and clean as the pieces are, they were made by working with materials in an unusual way, be it the lack of focus in the photographs or the use of luminescent paints in the paintings.

These two bodies of work are remarkably cohesive despite the contrasts, and function very successfully in relationship with each other.  This is a great show to augment your summer viewing.

- Sasha Bergstrom-Katz

(Images from top to bottom: Sigmar Polke, Ohne Titel, 2000, Interferenzfarbe and Dispersion, 78 x 58 5/8 inches; Sigmar Polke, Untitled (Uran)(unique), 1986, Cibachrom, 21 1/4 x 24 inches; Sigmar Polke, Untited (Roepke), 1999, Acrylic on paper, 39 3/8 x 27 inches; Simar Polke, Untitled (Image #1), 1986, Vintage photograph, Framed 15 1/4 x 17 1/4 inches.)