But my grandmother would have believed it petty to be overly concerned about the solidity of a piece of wood in which one could still distinguish a small flower, a smile, sometimes a lovely invention from the past. Even what might, in these pieces of furniture, answer a need, since it did so in a manner to which we are no longer accustomed, charmed her like the old ways of speaking in which we see a metaphor that is obliterated, in our modern language, by the abrasion of habit. Now, in fact, the pastoral novels of George Sand that she was giving me for my saint’s day were, like an old piece of furniture, full of expressions that had fallen into disuse and turned figurative again, the sort you no longer find anywhere but in the country. And my grandmother had bought them in preference to others just as she would sooner have rented an estate on which there was a Gothic dovecote or another of those old things that exercise such a happy influence on the mind by filling it with longing for impossible voyages through time.
- Marcel Proust, Swann’s Way
BRX PR for LUUUUUUUUUUUND
Israel Lund’s work for Elaine Levy Project could be called collaboration. It could be called homage, allusion, or with a heavy influence; possibly appropriation or theft. Its sources may be intuited, re-interpreted, or reflected upon; as well as critiqued, mutated, or pillaged. It could be authentic, or ahistorical. While Lund’s practice might provoke these dichotomies, it also re-absorbs them with the purpose of re-negotiating the complex visual ecology, which, he is quite aware, his work must inhabit.
Lund is not afraid to reevaluate his own work and has built his process around a constant reexamination of what he has already done. He has developed a style of cycles, a style that cycles back on itself, reinventing itself by degrees until it obliterates the source from which it emerged. For this series, Lund begins with his distinctive tri-color abstract paintings. However, as opposed to recapitulating his previous work, Lund creates a striped iteration of his stylized surfaces by manipulating an image of a Daniel Buren painting through his screenprinting process, a gesture that is as disruptive to Buren’s vertical stripes as it is to Lund’s fields of colorful static. By drawing upon such tropes from the history of abstract painting, Lund questions his own practice, and tests the point at which these stylistic maneuvers have “turned figurative again,” and become the domain of culture at large.
As Proust, in the quote above, presents the literary artifacts that laid the cultural foundation for the perspective from which, and the language with which he writes, so, too does Lund present his own contemporary engagement with surface and images parallel to the stylistic inventions developed by certain 20th century juggernauts. Perhaps, it may be more accurate to say that Lund’s striped paintings collaborate as a virus might: attaching itself to a host cell, melding their genetic material, it irrevocably mutates both the host and itself – say, however, with less malevolent intention than a virus might connote, and more in the sense that it represents an updated reading, as well as something entirely new, all the way down to its DNA.
- Sam Korman
 The reductive process by which he creates them has already been written about elsewhere, and will be evident in its application to language in a collaborative exhibition running simultaneously in Brussels.
BRUSSELS ART DAYS 2013
Saturday September 7 from noon to 7PM
Sunday September 8 from noon to 7PM