Nicholas Metivier Gallery is pleased to present Scale, a group exhibition featuring the works of Edward Burtynsky, Max Dean, William Fisk, Izima Kaoru, Mara Korkola, Robert Polidori, and Richard Tuttle. The exhibition will open on February 28 and will be on view through March 16 with an opening reception on Thursday, February 28 from 6– 8 PM.
This exhibition brings together nationally and internationally acclaimed artists whose work reflects a particular consideration for scale. Whether it is the physical size of the work itself or a conceptual concern within it, scale is an integral part of the painting or photograph’s success. Scale will feature recent works by gallery artists as well as works from Izima Kaoru’s Landscapes with a Corpse series and Richard Tuttle’s suite of 13 etchings, Edges.
Working from an aerial perspective, Edward Burtynsky uses a “human scale” that is dwarfed by the landscapes technology has created. In his new Pivot Irrigation series, Burtynsky creates compositions that resemble stained glass and textures that are evocative of wood or fabric. On close inspection, the viewer encounters miniature farms and pencil-thin pivot irrigation arms. It is only after this discovery that one can comprehend the mile and quarter mile radius of each crop circle.
Max Dean creates his own measure for scale in his recent photographs of personally significant objects and memorabilia from his studio. Dean uses two standards for scale in these works - a basic wooden chair and his own hand. The chair is photographed from a specific height and distance, parameters that are followed precisely when documenting the other objects. Depending on the size of these objects in relation to the chair, they are sometimes either cropped out of the frame or barely perceptible. Another group of photographs use the actual size of Dean’s hand. Dean creates a comparison between this life-size scale and a scale that is filtered through a lens, exploring the way we read and understand photographs.
For William Fisk, scale is an innate sensibility that is used to enhance his still-life subjects. His process begins by sourcing vintage or used objects such as motorcycles lighters and cameras, for which he has an aesthetic appreciation. They are then photographed and enlarged with a specific calculation to become the perfect scale to paint - the more complex and detailed the object is, the larger the canvas must be. This exhibition will debut Motorcycle No. 4, Fisk’s largest and most ambitious painting to date. The painting of a 1938 Ariel Square Four motorcycle is rendered in an impressive 1.5 scale.
Mara Korkola’s recent landscape paintings are delicately rendered and presented in a series of small, sequential panels. The scale of Korkola’s panels resolves both her practical and conceptual concerns; it allows for wet on wet, a technique that is essential to her lush surfaces, and creates an intimate experience for the viewer. Close inspection is essential to appreciate the intricate brushwork of her tangled forests and the nuances of her monochromatic palette.
Robert Polidori has been making photographs of human habitats and environments since the mid 1980s. Using a large format camera, Polidori achieves the highest quality and detail in his images. It is the scale and detail of his work that helps bring our attention to the historical, sociological and psychological notions that Polidori seeks out in the places he photographs. In a 72 x 90 inch photograph of Amman on view in this exhibition, Polidori captures an infinite tapestry of sunlit concrete dwellings, scattered with clues of modern life such as satellites and hydro poles.
On Saturday, March 2nd at 2 PM, the Nicholas Metivier Gallery will be hosting a talk with Edward Burtynsky on the subject of scale.