Documentation of Triangulation, painting-in-motion/ four channel sync video sd dvd installation, dimensions variable, rt: 5 minutes, 2012. Part of Immaterial Ergonomics, a group exhibition with Brice Bischoff, Ryan Perez, Matt Sheridan, and Maria Walker at Space 4 Art in San Diego, CA from14 April through 26 May 2012. Triangulation was made possible in part by an ARC grant from the Center for Cultural Innovation. Curators: Ariel Mitchell, Chris Warr, Joshua Miller, Mike Calway-Fagen and Morgan Manduley.
Triangulation (2012) proposes to set abstract action painting free from the weight of art history by restoring and extending motion to paint moves without resorting to the use of narrative. Triangulation places viewer/participants directly inside an abstract painting rather than looking at it from a distance: in short, you experience the painting as it makes itself all around you.
Triangulation (variable dimensions but no less than 9' x 12') is a series of fifteen second vignettes of both abstract action and color field paintings-in-motion moving across four walls, clockwise in succession upon each wall, in a looped cycle four minutes in duration. Four unique transitions connect the vignettes as they traverse the space. While each vignette has distinct characteristics -- frustrated agitation, churning repression, jamming traffic and explosive vertigo -- what they locate as a suite are possibilities of release through rematerialization. This comes from "letting paint be paint" in each vignette -- actions, edges and motions are defined by marks, textures and color -- while exaggerating the material qualities of paint via projection (proportion, relief) and sequencing (repetitions of actions in and over a time base). Neither portraits nor landscapes in the traditional sense of the terms, Triangulation's component parts may perhaps instead be experienced as portraits of actions or actions of landscapes.
In Triangulation I propose paint marks can be ongoing events that first engage instinct rather than records of something that already happened on a surface to primarily engage intellect. While both outcomes occur as the work is experienced, I believe that possibilities for abstraction to be an agent of change are intensified if abstract work is transforming before us as we physically enter and move through spaces of painting in the here-and-now.
All painting, motion and video printing by Matt Sheridan. Installation/deinstallation assistance provided by Ariel Mitchell, Joshua Miller and May Martinez; repairs performed by Digitron, Montebello, CA.
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