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These paintings are, explains Reed, more about the capacity of gestures to generate something unexpected than about gestures as ends in themselves.In several other new, larger-scale works, Reed deviates from the slender, columnar format that allowed him to move the works alone during the period of isolation imposed by COVID-19. These larger paintings are related to the formats and palette of his 2020 New York exhibition, and again make use of intense colore cangiante along with black and white and strong value contrasts. In these canvases, layered and intersecting shapes suggestive of reels of film are punctuated by stenciled gestures; again, that which at first suggests spontaneous addition often turns out to have been carefully produced and positioned in order to spark meaningful tension. Reed has also activated the works' surfaces, building them up and carving into them to underscore the fundamental separateness of each element while placing them in dialogue with one another. By thus juxtaposing the opaque and the translucent, the improvised and the planned, Reed suggests the coexistence of different methodologies, narratives, and chronologies.
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