Presented by Arthur Brum, in cooperation with Bridge Gallery
Opening Thursday 3.15.12, up through 3.22.12
Simply stated, each artist exists in the color spectrum as well as the political spectrum. Each has personalized or specified a disposition through her or his work. Whether color is taken to be a phenomenological, semiotic, or philosophical category, the purpose here is to provide a series of examples in which the viewer can confirm or confront these categories both by considering each work individually as well as through a comparison of the approaches on display.
Hallberg’s work puzzles and complicates the relation between the multiple light effects, which confront the observer. They play the projected light of the screen against the reflected light from natural sources. The works composes and composites the everyday world of phenomena via the selected mediums, of printmaking and painting or... Hallberg is not ashamed of being cute. For her the four-letter word is only a pretense disguising and making digestible, a serious and prolonged investigation into the viscosity of light and its apprehension. Although, bound within the constraints of conventional formats, she is not traditional. She tames the flash and glamour of 80’s abstraction, putting such fashion in its place. Gently spitting in the eyes of the contemporary cannon and well rested in the comfort of their armchairs, they should not forget. Her gifts no matter how benign in appearance may simply be the most dangerous Trojan Horse.
Cornejo is absorbed by the semiotics of life. His combines and/or paintings are inhabited by logo and semaphore; surfaces loaded with signification. Language, color and texture wrap and overflow the concrete constraints of the support. This complex of mutations takes as its source the aesthetics which occur in public space, and the semiotic conflicts situated in them or...
Cornejo’s vision demonstrates his militant love for the world and his revulsion at passive viewers. Forced into the production of commodities, he begrudgingly tasks bricolage with the literal speech of slogans. Cornejo fights against both philistinism and snobbery of aesthetic elites. Pitting the compromises and tropes that demarcate both fronts into a tense stand off. Cornejo grapples with aesthetics through a romantic adventure in the margins.
Kandelaki adds a philosophical severity to the image by operating in perspective space, lateral abstraction, and sculptural form. The paintings are dialog between material and concept. A dialog unafraid to support and break the picture plane. Her objects show how concrete factors effect the imaginary and its illusionist space or...Kandelaki voids your aesthetics. Your bourgeois picture plane, the site of petty ideological fantasies, your masculine patriarchy can no longer hide in the sentimental rags of the enlightenment and its Cartesian space. More of the same. A Revolution is in hand, the negative is here. Each move is an explosion of aesthetic presuppositions borrowed from the ruling elite, and an insult to their shelter studios, expunged of life and of any actual event. It’s time for re-education.