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2BirdinHand2014oiloncanvas50x53 LENNONWEINBERGINC.514West25StreetNewYorkNY100012129410012lennonweinberg.comNEWPAINTINGSANDPRINTSOpensThursdayNovember66-8continuesthroughDecember202014FragmentsfromanongoingconversationbetweengnesBereczandJillMoserMosersstudioSeptember2014BAtrstsightweareluredtobelievethatwhatsinfrontofusisaboutimmediacythegesturalstreaksofpaintvelocitythedynamismofthebodybutthenlookingatthepaintingsupcloseweseetheblottingthehalosthecancelingandtheerasuresthedialecticofaddingandremoving. 4BTheyarenotmapswherewecanlocateorndthelaborofthehand.JMYestherestheillusionofthephysicalityofmarkmaking.Imfascinatedbythesleightofhandthatmakesthingsappearleavingyouuncertainastohowtheygotthere.BYoucalltheseSitings.JMItsaninventionexpandingonthewordsiteaplaceofrecordandapositioning.Itsalsoaplayonsightingsandcitings. 5BUnlikeinyourearlierpaintingsthegroundsinthisseriesareoftenleftalonelargeareasremainwhiteandtheghostimagethespectraltraceofremovalsisnotasapparent.JMInSitingsthebrushstrokesgesturesarethespectralimageshiftinginspeedandpresence.ThisunintendedeffectsosurprisedandintriguedmethatIleftthemalonelettingthembecomethesubjectthemselvesofthesepaintings.leftSitings23aboveSitings482014oiloncanvaseach30x30 6JMFortheCycleXprintsIworkedwithanunusualhybridoftechniquessilkscreenandmonoprinting.Iplayedwiththeimprovisedimmediacyofmonoprintingtounderminethecomposedxityofthesilverscreenedimage.WiththiscameacertainuidityofmarkingwhereIcouldalmostreimaginethespeedofmaking.ThiswasfacilitatedbythelargescaleoftheworkthatrequiredmywholebodytomakethemthetoolsIusedthemomentumofthepressandthesmearsoftheinks.Allofthatiscapturedrecordedandheldintheseprints.Theyreallydopicturetheprocess. 7CycleX102013monoprintedsilkscreen43x40 8CycleX92013monoprintedsilkscreen43x40 9BThereisanelementofvulgarityinthemetallic.JMMaybe.Theycanreadascheapandatthesametimeglamorous.Theyalsohaveaninherentuxanephemerality.Likeelementsintheworldlikeairandwatertheyneverholdstill.Metallicoilshaveagreateruiditybuttheyaretrickytoworkwithdifculttomakeeitherapparentoropaque.Ilikeworkingwithmaterialsthatappearandsimultaneouslydisappearthatshiftperceptuallyasyoumovearoundthemchangingaccordingtowherethebodyisinspace.BTheyarethereandalsonottherelikeyourmarksoftenare.Themetallicmarksarealmostemblematicofthework.Theyarebothassertiveandtransient.leftMalachiterightViridian2014oiloncanvaseach31x29 10Fingerprints2014acrylicoiloncanvaseach10x10 11JMThesebeganasfootnotesnotationsforthelargerpaintingsbutasIcontinuedtopaintthemtheygrewintoacollectionofimagesofessentialmarksandmovesinmyworkanatlasofsorts.BTherearestructuralconnectionsamongthesmallerpaintingsbuttheyalsolookasiftheyweredetailsorfragmentsofSitingssuggestingapart-wholerelationshipbetweenthetwoseries. 12JMFliptheSpinsignalsthebreakingapartofthethingsIhadbeendoinginthepast.TheothernameforthispaintingwasSpindriftaconditionyouseeonaroughseawherethesprayfromcrestingwavesisblowninstreaksfollowingthedirectionofthewindimagesthataretheresidueoftheactionofwaves.BFliptheSpinworksbetterbecausethepaintingissomulti-directionalanddisorientingunstablesuspended.Themarksareeetingeverylinepointsinadifferentdirection.Nothingiskeptinthecenternotbuiltnorstructuredaroundtheedges.Thelinesorstructurescrossalloverthegroundlookingsuspendedasiftheywouldemergefromthebackgroundoroatontop.Theyworkagainstcoherenceandaredispersed. 13FliptheSpin2014acrylicoiloncanvas60x62 14JMIalsoliketheinterplaybetweensomethingthatiscomiclyricalandtough.Ineverthinkofhavingonenote.Paintingissuchaphysicalactbutifyoucelebratethataloneyoucloseupanyotherconversationorwayofseeing.ThatswhyIamfascinatedbythecomplexityofgesturallanguageallofitspossibilitiesandchallengedwhenitcomestotitlingwork.BYouwanttitlestoreectthecomplexitiesoftheprocessbutthatsimpossible.Alsoyourtitlesareoftenreadasnarrativescuesandasaresultthemarksaretakenforguresofanimationasiftheywouldbeprotagonistsinanimaginarynarrative.Itseemsthatreadingthemasactorstakesawaytheattentionfromeverythingsavefortheirdirectionandmovement.JMIknowitsdifculttondtitlesthatlocateyouinawordimagerelationshipthatismoreexpansivethanthatandoffersgreaterreadings.Titlingissuchasecondact. 15MirroringMist2014acrylicoiloncanvas57x61 16BCycleXispainterlyandthepaintingsevokebothdrawingandthelayeringoftheprints.Inyourearlierworkpaintinganddrawingwasinconstantdialogue.Nowitsamutualcontaminationamongthepracticeofpaintingdrawingandprintmaking.Processesaredisruptedandreversedandalsotosomeextentreiteratedacrossdifferentmediaandthematerials.JMTheCycleXprintsprovokedthepaintings.TheirdynamismdisruptedthestructuresIhadsetupinmypaintingsandmademendnewwaysofreckoningwiththem. 17CycleX22013monoprintedsilkscreen43x40 18Hector2014oiloncanvas56x55 BHectorisaverymachopaintingaveryaggressivework.Itsveryforcefulassertiveanddespiteyourinterestinthetouchandthefeministreclamationofthehaptic.JMWellthewomenwhoworkedwithhapticstrategiesinthe70stheywerentpussyfootingaround.BSurebutyoushouldthentitletheshowNopussyfootingaround.Becausethisisexactlywhattheworkisabout.HHADesignNYCPhotographybyTimPyleKevinNoblep.7817 LENNONWEINBERGINC.514West25StreetNewYorkNY100012129410012lennonweinberg.com