David Kordansky Gallery is pleased to announce  WAITED\, an exhibition of new work by Andrew Dads on. This will be Dadson's first exhibition with the gallery\, and his first solo exhibition in Los Angeles. The exhibition will run from Febr uary 9 through March 23\, 2013. An opening reception will be held on Saturd ay\, February 9 from 6:00 until 9:00pm. 

Dadson has developed a practice in which the traditional l imits of the canvas are crossed\, blurred\, and questioned. This iconoclast ic stance\, however\, is not merely a formal one\, or a way of simply makin g the next move in the chess match of endgames that has come to define pain ting as a historical genre. Rather\, the driving force of the work posits t hat the objects and discourses that we have come to associate with painting are not nearly as familiar or discrete as we think.

Several works incorporating leaning canvases p rovide the first clues that Dadson has subverted the pictorial in favor of more directly physical concerns. But on closer inspection\, even the sculpt ural placement of stretchers\, some of them quite large in scale\, is behol den to Dadson's literal handling of the paint they support. Layers of brigh t color have been covered with subsequent layers of black or white\; these layers have then been painstakingly scraped\, pushed\, and dragged to the t op edge of the canvas\, forming a seductive\, slick barrier of paint betwee n canvas and wall. The accumulated medium becomes a zone where the painting seems to exceed itself\, to reach out for the world beyond its borders. 

A major new work\, 5 Planks\, combines five of these leaning canvases\, each of their multi -colored under-paintings covered by a top layer of white\, creating a scena rio in which Dadson's aggressively additive painting methodology is matched by the serial repetition of the support as a sculptural form. Towards the bottom of each 'plank\,' the remnants of what appears to be an energetic\, gestural composition in bright hues are seen against a backdrop of raw line n\; the white paint that ultimately obscures this\, and that comes to inhab it the gap between the top of the plank and the wall\, seems to defy gravit y. The work records––and exemplifies––the action of the body as it struggle s to counteract the forces that weigh it down.

In keeping with this heightened consciousness of the body\, the titles of two paintings on view are borrowed from well-known ex amples of performance-based work by other artists. Zen Head refers to Nam Jun Paik's Zen for Head\, a performance in which the artis t used his own head as a brush to drag pigment along a scroll of paper\; an d Face Painting draws its title from Paul McCarthy's performative action of the same name\, in which the artist's body\, led by his face\, is used to spread a length of white paint across the floor. In Dadson's case\ , these works\, which hang on the wall\, feature layers of black or white t hat have been scraped from top to bottom\, so that a mass of paint hangs pr ecipitously from the lower edge of the canvas. The foundational gesture of hanging the painting on the wall becomes a means for highlighting the colla borative\, performative relationship between an artist and his materials. < /span>

Regardless of scale\, Da dson's work communicates intimacy\, a willingness to extend the 'private' w orld of the painting into the 'public' world of its surrounding architectur e and vice versa. The works in the 'Re-stretched' series\, for example\, ar e created by scraping layers of paint toward each of the four edges of a ca nvas\; when the paint dries\, Dadson re-stretches the linen onto a larger f rame. The result changes the painting in two ways: it allows the virgin lin en that was previously stapled to the back of the stretcher to become visib le\, and it pushes the thick band of paint that had accumulated at the edge s onto the front of the composition\, making it a pictorial as well as a sc ulptural element. In a major new eight-part work in this series\, Untit led "White/ Red/ Orange/ Yellow/ Green/ Blue/ Purple/ Pink Re-stretched\,"< /em> in which each canvas has been painted with a different base color\, hu e becomes the support upon which Dadson's other experiments are conducted. As these base colors show through the material that covers them\, the optic al aspect of painting is fused to its physicality. The senses are joined in a synesthetic circuit\, and looking at the work is as embodied an experien ce as making it. 

Andrew Dadson (b. 1980) was recently the subject of a solo exhib ition at the Henry Art Gallery\, Seattle. He has also participated in solo shows and projects at the Seattle Art Museum\, Seattle\; Galleria Franco No ero\, Torino\, Italy\; and the Emily Carr Institute of Art and Design\, Van couver\, B.C. Group exhibitions include Che cosa sono le nuvole?\, Opere dalla Collezione Enea Righi\, Museion\, Bolzano\, Italy\; Nothin g to say and I am saying it\, Kunstverein Freiburg\, Germany\; Wit hout You I'm Nothing\, Museum of Contemporary Art\, Chicago\;WYSIW YG\, Rosenblum Collection\, Paris\; and Enacting Abstraction\ , Vancouver Art Gallery\, Vancouver\, B.C. Dadson lives and works in Vancou ver\, B.C.

LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SUMMARY:WAITED\, Andrew Dadson END:VEVENT BEGIN:VEVENT DTSTAMP:20171215T162055Z UID:257849 DTSTART:20130209T190000 DTEND:20130209T210000 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SUMMARY:WAITED\, Andrew Dadson END:VEVENT END:VCALENDAR