Julie Mehretu, “Stadia II,” 2004, ink and acrylic on canvas, 108 × 144 inches [courtesy of the Carnegie Museum of Art]. SH: This is also where my mind is right now, because ART PAPERS’ next theme is about monuments and alternatives to monuments. © Julie Mehretu]. And then [there is] another intention, or subject matter, in a group of these paintings with the rally [of] the right in Charlottesville. Her paintings, drawings, and prints depict the cumulative effects of urban sociopolitical changes. Excerpt (Riot), 2003 - Julie Mehretu. Reconstruction is work that’s never complete. 10:14:4 Main. There’s a constant pseudo-alterity morphing and shifting to create to really scary possibilities, and I think that one of my efforts is to try and find myself in that. Julie Mehretu: It’s interesting that you bring up the idea of the survey as a bookend. I feel like the work has really evolved from its early materiality, through a different way of working, to where the surface—what you see—feels almost reflective and somewhat immersive, a kind of liminal space by itself, and that liminality is the place of emergence. What you said about the deconstruction that happens, it’s about taking all of these things apart and trying to layer them together, to collapse space and time. Two decades of work reveal Mehretu’s long-standing engagement with themes of war, displacement and colonialism, her continual experiments with scale, and her efforts to blur the line between the abstract and the figurative. One of the intentions of the exhibition was always to save space for really recent paintings. day = Math.floor(intDiff / (60 * 60 * 24)); Sarah Higgins is editor + artistic director of Art Papers. $('#hour_show').html(hour+':'+minute+':'+second); I’m curious—given the need to bookend, to also look forward, to mark a turning point—if what has transpired in 2020 as backdrop to this retrospective has changed how you’re thinking about it. SH: There’s something productive about resisting the urge to arrive at a conclusion, staying instead in a space of indeterminacy, a space of possibilities. Julie Mehretu was born in 1970 in Addis Ababa, Ethiopia. Structural racism will fight against the image to lay a claim over the truth, geopolitics will fight for the power over that claim. It’s a question about how to invent and build, to find forms of liberation inside of being, inside of making, inside of creating, inside of inventing possibilities. Progression of Art. These surfaces seem to remove traces of the hand, of the mark-making, such that the marks exist in suspension. She studied at University Cheikh Anta Diop, Dakar (1990–91), earned a BA from Kalamazoo College, Michigan (1992), and an MFA from Rhode Island School of Design, Providence (1997). Julie Mehretu Excerpt (Riot), 2003 [new-wiki_w1-7175] - Discover The Largest Art Center In Our website. You have an opportunity to participate in your own historicization, but the process has landed in this very tumultuous and unprecedented year. Like the painting Hineni, which is in the exhibition: It was based on one of the northern California fires [in 2017]. Mehretu’s practice is an exceedingly sophisticated affair, assimilating world history to non-objective mark-making – incorporating imagery from the 2014 protests in Ferguson, Missouri in Conjured Parts (eye), Ferguson (2016) for instance, or, more recently, the American detention centres callously enclosing migrants in Haka (and Riot) (2019). Julie Mehretu is a contemporary Ethiopian-born American artist known for her large-scale abstract paintings. In a way you become a student of yourself, while in the process of working on new work. On “Julie Mehretu” at LACMA. How do we invent? Empirical Construction, Istanbul. €0.00. The power of that experience is what I’m engaged in, what I want to be in. Has that shift in milieu altered the way you think about it as a bookend? I mean, you work on these kinds of exhibitions for years, but you couldn’t have anticipated 2020 would be what it is. Painting is one area where I find that I can look for liberation, within the [medium] and for myself. As someone who’s also interested in how to unlearn certain decolonial gestures of photography, I became super interested in these particular photographs that resonate culturally. The image can assert truth, but it can also be silenced or rendered completely irrelevant. 100% Handgemalte Produktion von Auszug (Riot)' von Julie Mehretu auf Leinwand, Kunstreproduktion in Museumsqualität. My engagement is to invent something else within that space. Julie Mehretu (born in 1970) is an American contemporary visual artist, known for her multi-layered paintings of abstracted landscapes on a large scale. Despite that, there’s been constant invention—of language, of sound, of possibility—and that invention is part of what I’ve been trying to push for in the work. Artwork Images. These are core questions that I’m thinking about in my work. When looking at Stadia II, first try to isolate the black lines from the rest of the composition. €124.00 That is not a body of work that is a closed cycle—if you will—it was an exploration that emerged after I finished the paintings at SFMOMA, the HOWL paintings—HOWL, eon (I, II). [All] of them were really intense photos; one of the Charlottesville conflict made me think of history paintings by David and Delacroix, such as Liberty Leading the People or David’s The Intervention of the Sabine Women. Sie floh aus dem Land im Jahr 1977 und zog nach East Lansing, Michigan, wegen der Lehrtätigkeit ihres Vaters an der Michigan State University. The colossal “cloth paintings” of Dawn Williams Boyd, currently on view at Atlanta Contemporary, make a strong argument for in-person... Read More of "Dawn Williams Boyd: Death Is Swallowed Up By Victory", of "Dawn Williams Boyd: Death Is Swallowed Up By Victory", Read More of "Philip Glass: Frontiers of the Acceptable", of "Philip Glass: Frontiers of the Acceptable", Dawn Williams Boyd: Death Is Swallowed Up By Victory, Philip Glass: Frontiers of the Acceptable. That was enormous. timer(intDiff); Come and Visit Us,Free shipping and Framed Art Paintings onlineArtist: Mehretu JulieYear: born 1970nation: Ethiopiantitle: Excerpt (Riot), 2003 Such sensations are given form and content in Mehretu’s paintings. Julie Mehretu (American, born Ethiopia, 1970), Haka (and Riot), 2019.On view at the High through January 31, 2021. That’s what’s so fascinating: how media is being consumed, repurposed, regurgitated, how it’s being digested, and co-opted. We met over Zoom while the exhibition was in transit between the two institutions. Julie Mehretu Artworks. JM: Yeah, or what does decolonization look like? How do we think and create radically? $('#day_show').html(day); JM (cont. Her deeply experiential abstract works are amalgamations of fragmentary images, marks, shapes and colors that reference cartography; architectural drawings and schematics; photographic documentation of current events and social uprisings; and more, mobilizing a vast lexicon of visual references. It guides the whole painting, it is the DNA of the painting, but it is also the space, color, and light that it’s being painted within, the tenor of it. The gesture of that space is clear. There are so many ways to imagine what could happen with that space, or with those voids, and I think all of that is part of letting go of certain desires, letting go of certain necessities. JM: But I like the idea of playing with feelings of futurity or feelings of those possibilities. Aug 21, 2013 - ‘Excerpt (Riot)’ was created in 2003 by Julie Mehretu in Abstract Art style. second=0;//时间默认值 I hope that these time-based experiences in painting offer a place of communal conversation, investigation, or interrogation. I do think that there’s a lot of complexity to what you just described. }); Preis des Malereis: There is a lot of erasure now, there’s a lot of drawing and sanding, and so the surface has been developed in a way that can withstand that. The upcoming solo exhibition of Julie Mehretu's work at LACMA will show all the layers of the artist's socio-politically charged painterly practice. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. © MalereiKopie.de Inc. Ölgemälde Reproduktionen. When the show opened in Los Angeles, it had three brand new paintings that were shown for the first time. Mehretu begins by manipulating news photographs in Photoshop, then rendering the gray-tinged, washed-out blurs onto canvas via airbrushing. Precise lines and rigid angles merge with expressive arcs and waves, whilst dots, dashes, stabs and smudges dance across the pictorial surface like scrambled punctuation marks. I’m trying to invent this other space, another context from within the images, and to find fissures or find the ghosts—to deal with the horror that these images conjure—but also to ask, how does something else come through? hour=0, We’re in a time when the totality of that process is ungraspable; it’s like a hall of mirrors where you can’t locate yourself, or even necessarily understand time, reality, and what is being constructed. Julie Mehretu discusses her process of layering and erasing and the different references embodied in any one of her large-scale paintings. Julie Mehretu’s solo exhibition about the space of half an hour at Marian Goodman Gallery in New York opened November 2, 2020 and is on view through December 23. I think for me it would probably be about my experience as a consumer of this media, bearing witness and working from within that space. But why do we presume a replacement is needed? Do the newer works change with each iteration as the exhibition travels? minute = Math.floor(intDiff / 60) - (day * 24 * 60) - (hour * 60); Julie Mehretu, “Six Bardos: Transmigration,” 2018, 31-color, 2-panel aquatint, 98 ×74 inches [photo: © White Cube, Ollie Hammick; courtesy of Gemini G.E.L., LLC. I was working very early on with very fine, thin radiograph marks—architectural—that come out of the history and traditions of mapmaking, charting, and analyzing. Julie Mehretu American, born Ethiopia, 1970 Haka (and Riot), 2019 Ink and acrylic on canvas Los Angeles County Museum of Art, gift of Andy Song. Julie Mehretu, “Haka (and Riot),” 2019, ink and acrylic on canvas, 144 × 180 inches [photo: Tom Powel; courtesy of the artist], SH: I have a question, or a curiosity about how you invent and build. JM: Well, several things: It was with intention to choose Atlanta, because of the demographics of the city, and Minneapolis; both institutions wanted the show and have been supporters of the work. That’s part of the gesture of what’s ultimately embedded, metaphorically, in the architecture, and in those forms of construction and representation in the world. The first-ever comprehensive survey of Mehretu’s career, Julie Mehretu is organized by Christine Y. Kim, curator of contemporary art at LACMA, with Rujeko Hockley, assistant curator at the Whitney. Still Life with Onions, 1917 - Pierre-Auguste Renoir How do you pull from other radical traditions? Perhaps a political chamber? 2003. Leben. Julie Mehretu, “Epigraph, Damascus,” 2016, photogravure, sugar lift, aquatint, spit bite aquatint, open bite, 8.1 × 18.8 feet [photo courtesy of Museum Associates / LACMA]. Mehretu’s midcareer retrospective had its debut at Los Angeles County Museum of Art, and it is currently on view at the High Museum of Art in Atlanta through January 31, 2021. Many possibilities are maybe more the answer than a single answer. What’s left then? Julie Mehretu. Reviews Julie Mehretu’s New LACMA Survey Reveals an Artist at the Peak of Her Power—But Also One Unusually Eager to Share the Credit. minute=0, Julie Mehretu (* 1970 in Addis Abeba) ist eine US-amerikanische Malerin. €71.92 These things come together and evolve very differently. So that’s why I use the word possibility. She was a resident of the CORE Program, Glassell School of Art, Museum of Fine Arts, Houston (1997–98) and the Artist-in-Residence Program at the … The content of those paintings is so interesting to look back at now, [because] we’ve been protesting since the beginning of the Trump administration. JM: That liminal place of those possibilities, of many answers, is the most potent place in a way. SH: In your most recent work, the surfaces are becoming less sharp. How much of a work of art don’t you see? We were working on the exhibition for five years. Addis Ababa, Ethiopia. I think there is a world-building that exists in these paintings, but it’s an entropic system. Julie Mehretu's Excerpt (Molotov Cocktail) is an explosive cacophony of mark-making, both lyrical and frenetic in its ebullient dispersal of paint and ink. There’s no doubt that it’s a fire, even though it’s just blurred oranges, pinks and yellows—a kind of experiential feeling of incineration that’s imbedded materially. One piece in the exhibition is based on architectural renderings of Damascus, and erased parts of Damascus, [referencing] erasure happening there throughout the Syrian Civil War, and the cost of that [destruction]. And if we’re in the midst of a reconstruction right now—if we’re thinking of this time as an uprising and reconstruction—then what radical traditions are we thinking through? €71.92 Balasz Takac. We just had the first presidential debate [last night], and anyone who witnessed it, and then read the news and media responses to that [today], it’s like they were talking about two different realities. Julie Mehretu, “Hineni (E. 3:4),” 2018, ink and acrylic on canvas, 96 × 120 inches [photo: Tom Powel Imaging; courtesy of the artist]. Born: 1970 - Addis Ababa, Ethiopia . ): The idea that there could be some kind of larger proper response is almost problematic, because there are those who don’t even care about the monuments. Weitere Ideen zu kunst ideen, idee farbe, künstlerbedarf. I do think it’s an important place to interrogate—but I think that the open-ended possibilities, and the numerous contradictory possibilities, are interesting, and that’s part of the entropic reality that exists. But that’s not how the world works—there’s overwhelm, there’s too much, there will continue to be too much, right? intDiff--; There’s a blurred softness, whereas past work often had incredibly fine detailed lines. The overwhelming desire to take a photo—to try to capture the view—is immediately thwarted by a certainty that the photo would fail to capture that very expansiveness in all its minute detail. There is clearly deconstruction happening in the work, but there’s also a kind of unknowability that touches on the expansiveness of the present. For her 2019 “Haka (and Riot),” she incorporated news images of U.S. government detention centers for immigrants, using acrylic paint and calligraphic lines of ink. The built environment, for Mehretu, provides a setting in which people can gather, protest, pr… I hadn’t spent that type of time, going back through the work, that I did preparing for this show. But then, the question becomes—well, what in their place? Mehretu has been part of group shows in New York, London, Korea, Lithuania, and Venice. Mehretu is included in Time magazine’s 100 Most Influential People of 2020. And then there was a similar eruption with the Women’s March shortly after that. Utopian futures are often so simplistic, so reductive, or selective about what aspects of the world we bring into them. They are paintings where the blurred photograph carries in the color and light and construction of the space, or of the action that’s happening in that space. We have to embrace the contradictions and go right into them and not be fearful of the contradictions that exist within. Painter Julie Mehretu’s Intellectual Ambitions ... (and Riot) (2019), an ink and acrylic work with bursts of color that interrupt a jumble of black shadows and calligraphic lines. The act of looking on such a grand scale, combined with the embodied knowledge of how a place feels to witness, creates a sensation of awe, of confronting the uncapturable captured within immensity. I’m curious how you see your work participating in that push and pull between the representational image’s ability to do all that we had once, perhaps, hoped that it could do, and its inability to do so. But I don’t know that it offers any kind of proposition or solution outside of what it can do, individually, to someone and their experience with the artwork and a belief that the experience is valuable. I became most interested in those insistent gestures, and how they could evolve. Why must something destroyed be replaced with something else to fill that hole? if (minute <= 9) minute = '0' + minute; I’m curious if the most recent work, in the final room, becomes a site where you can respond to those changes of site, because it’s part of something that’s still happening, still fluid. SH: Your work is engaged with space and site, in content, but also in the way you reference cartography, architecture, and sites of historic events, sites of uprising, sites of change, of resistance. Julie Mehretu wurde 1970 als erstes Kind eines äthiopischen Collegeprofessor und einer amerikanischen Lehrerin in Addis Abeba, Äthiopien geboren. I think a lot of the work from the earliest moments has been very much about investigating power structures and individual agency, collective agency and possibility within it. $(function(){ SH: Yeah, and to refuse the totalizing force of a single answer. FROM THE ARCHIVES: Thomas Rain Crowe and Philip Glass talk boundaries, social change, and the “new” music of the 21st century. Haka (and Riot), 2019 . Öl Gemälde auf Leinwand in Museumsqualität. second = Math.floor(intDiff) - (day * 24 * 60 * 60) - (hour * 60 * 60) - (minute * 60); A painting that doesn’t show a fire but is immediately experienceable as a fire has a different kind of truth claim than the representational image. Ölgemälde Reproduktionen - Julie Mehretu - Künstler Stil Thema Ölgemälde,gemälde,malerei kopie,Ölgemälde reproduktionen,gemälde kaufen 28.11.2018 - Erkunde Nadine Schumanns Pinnwand „Julie Mehretu“ auf Pinterest. 1992 machte sie ihren Abschluss Bachelor of Fine Arts am Kalamazoo College in Michigan. The HOWL paintings were finished [within a] year of the [2016] election and begun at the beginning of that election. 42 % RABATT At the time of its making, Empirical Construction, Istanbul was one of Mehretu's largest works, at 10 x 15 feet, and the only one based on a single city. Born: 1970. All of the work over the last 25 years has been about trying to locate myself within that intense web. Does this centrifugal structure remind you of a sports arena, an amphitheater or opera house? In the atomization of images, of a group of references, you’re also refusing the legibility of coalescence. And I don’t mean to be opaque in answering that, but there’s an open-endedness, more like presenting an experience, a spectral experience, a time-based, transformative experience. For this diptych, Mehretu began with photographs taken inside detention facilities in Texas and California where undocumented migrant children have been detained. Certain images rise to a different level in our collective consciousness to encapsulate a moment, but there’s usually some weird dynamic as to why these [particular] images [do so]. I think that artists and creative people are the ones who can interrogate and invent propositions, and each instance can be dealt with differently. What is that image now? In the last four years I have been working with using blurred photographs as the source for the underpaintings. Born in Ethiopia, Michigan painter Julie Mehretu rose out of obscurity after 2000 with her abstract cityscapes that encompass history and geography into their wild yet intricate layers. #day_show{margin-left:5px;padding-left:18px;background:url(/includes/templates/bohase/images/clock.png) left center no-repeat;height:30px;line-height:30px;display:inline-block;font-size:12px;} I don’t think there are propositions in them, other than conjuring of possibilities. } It could denote all of these, broadly invoking our experiences as individuals and collective bodies in such spaces. The exhibition unites nearly 40 works on paper with 35 paintings dating from 1996 to the present by Julie Mehretu (b. Some of these [recent] paintings in the exhibition have underpaintings based on blurred photographs of particular events, and one is based [on protests against] the Muslim ban that erupted en masse right after the president announced it. Julie Mehretu, “Retopistics: A Renegade Excavation,” 2001, ink and acrylic on canvas, 101 1/2 × 208 1/2 inches [photo: Edward C. Robison III; courtesy of the artist]. And this past summer, during the pandemic and after the killing of George Floyd, you had an intense eruption of protest and uprising. I think that’s why I refer to them as neologisms—visual neologisms—like a Philip Guston kind of gesture that morphs into a Hammons handprint. The last room has paintings that were made in the year prior to this exhibition. It’s a project that wasn’t resolved and hasn’t been resolved in this country, and it’s hard to even understand how that can be resolved when we’re dealing with the bigger aspect of colonialism. function timer(intDiff){ When I was much younger, each material step was really important to the concept of the work. Jul 2020-Feb 7, 2021 Murmuration; Nov 2020-Mar 14 2020 Dawoud Bey; Oct 2020-Jan 2021 Julie Mehretu; Dec 2020-Spring 2021 Bestowing Beauty; Jan 2022-Mar 2022 The Obama Portraits Tour They’re mediated images that we consume at a rapid pace …. Sonderpreis: JM: Well, in that sense I do think of the paintings as emergent propositions. Haka (and Riot), 2019 by Julie Mehretu. Art; Arts & Culture; Current Events; Reviews; By Nicholas Andes 03/15/2020 03/15/2020. Julie Mehretu, “Conjured Parts (eye), Ferguson,” 2016, ink and acrylic on canvas, 84 × 96 inches [photo: Cathy Carver; courtesy of the artist and The Broad Art Foundation, Los Angeles, California], Julie Mehretu, “Berliner Plätze,” 2009, ink and acrylic on canvas, 119 1/8 × 167 1⁄4 inches [photo: Kristopher McKay, for the Solomon R. Guggenheim Foundation; courtesy of the artist]. That’s what I’m more interested in. The [earlier] surfaces were developed to be able to hold and not ever lose the mark, so that if you erase the mark you always have the palimpsest or the trace of the mark there. Looking at images projected onto the paintings, when they were out of focus, [I saw] this apparition of place. Even representations of mass systems of power and oppression can be incredibly moving. One of the reasons I became so committed to making art is I remember being moved, extremely moved, by works of art. View Julie Mehretu’s 221 artworks on artnet. With 40 works on paper and 35 paintings, this mid-career survey is the Ethiopian-born artist’s most significant museum show to date. It was almost like all that was embedded in that photograph was there, without the photographic detail. Preis des Rahmens: There’s something curious, and strangely appropriate, about the way LACMA staged its mid-career retrospective of Julie Mehretu’s paintings and drawings. window.setInterval(function(){ The American art scene is grand, dense, and often hard to grasp. I think that the work—the way that I’ve been thinking of the work of the last 10 years—is to try and negotiate a way of radical imagining. Tijana at High Museum of Art. SH: I’m into the idea of accepting entropy as a necessary part of any future. Julie Mehretu, “Haka (and Riot),” 2019, ink and acrylic on canvas, 144 × 180 inches [photo: Tom Powel; courtesy of the artist] SH: I have a question, or a curiosity about how you invent and build. These are really interesting and important audiences to me, personally. 1970, Addis Ababa, Ethiopia); along with a print by Rembrandt and a… Artworks. if(intDiff > 0){ I think of the show and the programming we can do at the museum as a cross-platform place, a place of learning, and a place of collectively trying to—within different forms—push this agenda forward. A particular kind of caricature might be reminiscent of a Kara Walker gesture, but then it moves into something else that feels almost like something from the renaissance. Julie Mehretu's Mid-Career Survey To Open at LACMA October 30, 2019. tage In the atomization of images, of a group of references, you’re also refusing the legibility of coalescence. Or maybe “look like” is ultimately the wrong configuration. } Alle Rechte vorbehalten. [laughs]. These are questions that are kind of swimming in the back of my mind. Standing before one of Julie Mehretu’s monumental paintings often reminds me of gazing across an expanse—perhaps overlooking the skyline of a city or seeing a mountain range from one of its peaks. Do you think about the work as moving beyond deconstruction and into a space of proposition—proposing a future, of where we’re going? JM (cont. hour = Math.floor(intDiff / (60 * 60)) - (day * 24); JM: The materiality of the work comes from the history of the making of the work. I then moved into this place where the more I continued to work with the marks, the more the marks in themselves became primary, became the activist gesture if you will. Mehretu in 2015. Mehretu's paintings are generally large in scale and feature frenetic outlines and cross-sections of known or unknown cities in concrete gray tones. That’s one of the reasons I’m interested in looking at the blur. The marks became much larger, they became more gestural, they merged with other histories of mark making. That’s part of the insistence in these last paintings. Kaufen Sie eine handgemalte Auszug (Riot) Reproduktion von Julie Mehretu. Wikipedia article References Julie Mehretu (born 1970 in Addis Ababa, Ethiopia) is an artist, best known for her densely layered abstract paintings and prints. 2 The question trips to mind as you climb the stairs of SFMOMA’s main entrance and pass HOWL eon (I, II), a pair of enormous paintings by Julie Mehretu. The real work [in their mind] is about trying to build another place of liberation. Biography. There’s not just abstraction on the largest scale but abstraction even at the level of the mark. var intDiff = parseInt(209644);//all time They also seem inherently to create a bookend—the closing of a chapter and, thereby, whether intentionally or not, the opening of a new one. ): I became interested in photographs that felt like they really captured a certain tenor of a particular thing. What does reconstruction look like to you? Julie Mehretu wurde 1970 als erstes Kind eines äthiopischen Collegeprofessor und einer amerikanischen Lehrerin in Addis Abeba, Äthiopien geboren. That [barbarity] comes from a long history of intentional oppression and extinguishing of particular peoples, particular ways of being. How do you pull from Black radical tradition? €0.00 JM: I’m hesitant to even think of truth claims outside of my own experience. The bombardment was The installation at the Whitney is overseen by Hockley and on view from March 25 through August 8, 2021. I’m about to open a new exhibition of paintings at Marian Goodman Gallery, where I’m continuing that cycle of work. #hour_show,#dayscontent {font-size:12px;} SH: There was a very 20th-century notion, I think, that the photographic image could convey truth, or could make a kind of concrete evidentiary claim. Find more prominent pieces of abstract at Wikiart.org – best visual art database. Julie Mehretu. I’m really trying to work with the museum on how to engage a different audience, and how to bring various audiences in who are [also] thinking and inventing in these ways. Her paintings, drawings, and prints depict the cumulative effects of urban sociopolitical changes. The more important work in their mind is the constant pervasive racism and injustice that exists. What is the relationship between those formal gestures and the content or source materials that you’re using? Sarah Higgins: We’re talking on the occasion of your midcareer retrospective, exhibitions that are often discussed as an opportunity to look back, to contextualize, to do some stock-taking of your practice up to this point. Ethiopian-American Painter, Draughtsman, and Printmaker. "The Los Angeles County Museum of Art (LACMA) presents Julie Mehretu, a mid-career survey co-organized with the Whitney Museum of American Art. So it’s almost as if that body of work is a bridge [from the retrospective exhibition] into this newest work. It was an instantaneous eruption of protest and activism that took place all over the country, [in an] effort to resist that fascist gesture, which was undemocratic in a very clear way. Julie Mehretu is an American contemporary visual artist who is known for her large scale multi-layered paintings of abstract landscapes. }, 1000); The artist remaps strategies of … It seems so open but it’s actually interrogating historic utopian propositions. I can fully sand something out and still keep part of the surface, or the sanding and erasure becomes part of the surface, and becomes part of that visual action, and part of the way that the image evolves. The mark was always essential to that. See available prints and multiples, works on paper, and paintings for sale and learn about the artist. €124.00 And we haven’t really come up with a decolonial project in this country, or even a project of understanding ourselves.
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