After a first exhibition five years ago of paintings from the sixties, Xavier Hufkens is proud to present a new exhibition of work by Robert Ryman. On this occasion, the famous painter is showing a series of new paintings alongside works from the 1960’s. In the new paintings, Robert Ryman remains faithful to his concrete, material approach: the application of white paint on a support. For the man, who so clearly summarised his work in the statement: “There is never a question of what to paint, but only how to paint. The how of painting has always been the image”, each new painting remains nevertheless a challenge. And there clearly is a new spirit, which animates his latest paintings: they are more “expansive”, in the sense that, by Ryman’s standards, the paintings are atmospheric - almost impressionistic, even -, colourful and compositionally busy. The application and distribution of the pigments are done in such a way that the sides of the canvases are utilized. The edge, where white often meets a black ground, plays a prominent role in each work. Instead of putting down a thick impasto, Ryman uses paint of a lean consistency so it can be “worked” and moved around more easily.
On the occasion of the exhibition, a catalogue will be published with an introductory text by the Dutch artist, Jan Dibbets, a personal friend of Robert Ryman.Evan Holloway
: "A Voyage to Laputa"
In the new sculptures, Evan Holloway tries to focus his attention on real physical objects and events. To achieve this, he tries to emphasize the role of the viewer as a participant in the art. The full experience of the sculptures often requires manipulating them by touching some part of it, actually, playing with it and exploring the way the work changes its appearances. Each work gains additional meaning as its various positions are discovered by the viewer A Voyage to Laputa, the title of the exhibition, refers to a chapter in Jonathan Swift's book Gulliver's Travels. In this chapter he finds himself on an island that floats in the air and is inhabited by beings completely lost in speculation on mathematics and music. So engaged are they in these thoughts that they must be constantly whacked on the side of the head by their servants so that they can be called to attention on mundane matters. They are so exclusively engaged with the theoretical that they do not observe the real physical conditions and consequences of their practices. By referring to Swift, Evan Holloway intends to highlight the fact that his sculptures are not just abstractions and decorations, but are to be understood as commentary on real social conditions.
Evan Holloway lives and works in Los Angeles. It is his second exhibition at Xavier Hufkens.
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