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Brooklyn Art Space

Exhibition Detail
“A Romance of Many Dimensions” Curated by Brent Hallard
Curated by: Brent Hallard
168 7th Street
3rd Floor
Brooklyn, NY 11215-3147


November 12th, 2011 - December 1st, 2011
Opening: 
November 12th, 2011 6:00 PM - 9:00 PM
 
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> DESCRIPTION

The title of the show comes from... Edwin A. Abbott’s Flatland – A Romance of Many Dimensions, who dedicates the book... 

 

To The Inhabitants of SPACE IN GENERAL And H. C. IN PARTICULAR This Work is Dedicated

            By a Humble Native of Flatland

            In the Hope that

            Even as he was Initiated into the Mysteries

            Of THREE Dimensions

            Having been previously conversant

            With ONLY TWO

            So the Citizens of that Celestial Region

            May aspire yet higher and higher

            To the Secrets of FOUR FIVE OR EVEN SIX Dimensions

            Thereby contributing

            To the Enlargement of THE IMAGINATION

            And the possible Development

            Of that most rare and excellent Gift of MODESTY

            Among the Superior Races

            Of SOLID HUMANITY

 

            What better sentiments come to mind than this to suggest the tenets of a reductive visual practice... the enlargement of the imagination, the development of that rare and excellent gift of modesty?

           

            Like the novella, the paintings in “A Romance...” do not provide an axiom for the existence of higher dimensions into other worlds. That’s something a mathematician or physicist might be able to do better. Rather, the works in this exhibition attend to the flat – surfaces, shapes and color – as if in defiance of the existence of the dimensional world that they inhabit. 

           

            The experience of a painting, noting that the term painting here can be applied rather loosely, is primarily phenomenological. Yet just as a line or shape can suggest an aspect of the recognizable as a  response to the world around us, shapes also go on to form recognizable things, and, as such link the three-dimensional experience of supports and canvases as they protrude from the wall.

           

            While early abstraction had its interest in non-Euclidian geometry, the fourth dimension and the idea of time and motion as a perceived illusion, artists such Mondrian and Malevich clearly worked with the phenomenal world that they were in. Their mature paintings generally had a top and a bottom, not of sky and sea, but in correspondence to the way the body responds to the environment. And if some of this early experimentation appears to be gravity free, on closer inspection it becomes clear that a bodily response to gravity is there expressed through a modesty of means.

           

            The artists in the show all work with visual dialects, understanding that line is connected to form, that object is connected to color and line, that our participation informs and blends all this, and the relationships formed hereafter are very much about our connectivity, be-coming aware of another sensual realm that may have no physical location. It is here that the artist romances, bringing together relationships, for the viewer to experience and wonder about. 


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