Looking Through Trees
Romer Young Gallery is pleased to present its first solo exhibition with Los Angeles painter Pamela Jorden. Jorden is part of a new generation of painters whose work is at the forefront of an ongoing and unfolding conversation around the possibilities and potential of ‘abstraction.’
“The structure of light is geometrical compared to the structure of matter which is ‘organic.’ (Organic = Free-form) Both matter and space have ‘density.’ Light opens peep-hole tracks in the ‘density’ of space, because of the structure of light and allows us to ‘see.’” (Lee Lozano) *1
Pamela Jorden’s exhibition Looking Through Trees presents a new series of paintings, each one an invitation for a phenomenological experience of a painterly space defined by color, mark, composition and light. Jorden emphasizes that the world we experience is not solely figurative and our senses that interpret our surroundings do not operate in a solely rational manner. This perspective informs her paintings and challenges the compartmentalizing of abstraction. Resisting depiction in favor of slow suggestions, the works quietly allude to such things as the natural effects of changing light, the densities and geometries of urban landscapes, the haze of atmospheres and environments. The works balance a play between foreground and background, void and form, light and dark, hard and loose. Gradually assembled, the paintings are composed of fragments with varying optical densities and accumulations of shape, line, texture and pattern - each mark an isolated experience adding to the synthesis of the whole. The end results existing as “experiments in which color has weight and energy with the power to harmonize or disrupt.”
"The world is not solely figurative and senses are not solely rational. For me an abstract painting has a material immediacy that cannot be explained by language. My paintings are composed of fragments, with optical densities and accumulations of shape, line, texture, and pattern. My practice is informed by my surroundings and daily experiences: the effect of changing light and shifting perspective, the density of a layered and stacked urban landscape, the haze of the atmosphere. Each painting is an experiment, from one mark to the next, gradually assembled and reassembled through action and reflection. The composition is a synthesis of parts or moments, describing the passage of time, integrated into a painted object. The results are not a resolution but an ongoing investigation and an invitation to make sense anew."
1. Lee Lozano, private notebook excerpts, August 18, 1969