40,000 Fathoms Before the Eye

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Frost, 2012 Oil, Sand, String, Wood, And Cardboard On Linen 13 X 13 Inches © Courtesy of the artist and 65GRAND
40,000 Fathoms Before the Eye

3252 W North Ave.
60647 Chicago
May 18th, 2012 - June 16th, 2012
Opening: May 18th, 2012 6:00 PM - 9:00 PM

River North/Near North Side
Thu 6-9; Fri-Sat 12-6

  • 65GRAND is pleased to present Brian Kapernakas in his third solo exhibition with the gallery, 40,000 Fathoms Before the Eye. This new body of work sees the artist reducing his palette and refining his gestures.


    Red, green, black and white. Kapernekas has not only settled on just two colors and two tones, the works in the exhibition are also monochromatic. His interest in red and green comes from the uncommon natural phenomenon called the "Green Flash" which occurs as the sun sets below the horizon. Kapernekas' work has always playfully drawn from the observed world while bordering on total abstraction. In this group of work he has tightened his focus further.


    The artist's interest in medium and experimentation with material continues, but in a more refined, almost scientific way. Monocle is made from wood scraps and bamboo covered in packing tape that has been melted. Covered uniformly in black acrylic paint texture and surface are emphasized, much as they are the similarly all black painting Sand Castle. In Tile Kapernekas works in white on white as he embeds a very low relief paper board cast of a vinyl floor tile into the gallery wall.


    Overall, the work in this show is concerned with the space between fact and fiction and observation versus imagination. Kapernekas looks to the late French author and filmmaker Alain Robbe-Grillet, who in an interview once stated, "It is in my brain and not in front of my eyes. [P]eople always wrote, 'Robbe-Grillet means objectivity, the scientific eye.' Perhaps, but the scientific eye is looking at what is in the imagination."


      • I find myself at times in a transitory state, situated between the scope of objective material that informs process and subject within the work, and the roaming eye of recollected memories, direct observations and the imagined. What manifests for me is a critical dialogue between fact and fiction where the object and the self both become participants in the process, demarcating events and situations that the work has helped to reveal in both abstract and representational forms.