mercedez benz. triscuits. smiling. bright.

Result #1

mercedez benz. triscuits. smiling. bright.  Its a nostalgia for the still life, or a bad illustration of the still life—a style that has gone beyond the use of contours, have gone into the realm of color, and are quite certain of the things they make. Unfurled, the work is made up of sections that look like torn-up, or raggedly torn, scraps of canvas. Pairs of colors bleed through the surface of the paint, the most obvious of which is a dark, brownish green, a shade that seems to be the result of an ink blots effect. But what is this ink blots effect, if not a sketch? The paint is applied in small horizontal bands, with a rush of color and a palpable, almost palpable sense of movement. The effects are very close to the abstraction of geometric shapes, but the sense of movement is so consistent that it is difficult to tell where the shapes come from.The color of the paint is almost always in a neutral or off-white palette, with some blue, white, or yellow in the foreground, and black or brown in the background. In other instances, the colors are slightly out of balance: a single, almost-unfurled color (red) is a dark gray; another, blue-green, is a light blue; another, pale gray, is a slightly brighter gray. At times, the colors are saturated; at others, they are merely warm or cool.The palette seems to be the result of careful preparation, so that each color has a long time to build up its own pigment. It is a labor-intensive process that gives each color its own identity. The colors are then mixed with various kinds of paints, in varying degrees of saturation and opacity, and the result is a rich, almost palpable color that is unmistakably a composition, like a landscape, with color-rich, dense, almost poetic depth. It is a representation of the richness of the natural world.

Result #2

_________________ A certain surrealism is not only a recent invention, but its only one, a modern invention. Thus, the narcotic, narcotic, narcotic image of the modern industrial age (without a doubt one of the most destructive, difficult, dangerous, and complex of technologies) is more than an interesting quirk of the human mind, an oddity—a sort of an undercurrent, a spark of passion, an activity. In it, as in so many other modern inventions, there is a rich and evocative potential.

Result #3

mercedez benz. triscuits. smiling. bright. vernacular. vernacular, their colors glinting like neon, their shapes a dramatic sea of paint. In the gallerys foyer, two more paintings, a ragged, furry one and a large one, stood on the floor, their painted surfaces emblazoned with an art-historical array of pinks, violets, and blues. At the far end of the gallery, a collage of painted photographs of a life-size replica of a vintage-Renaissance painting hung on the wall. This exhibition featured works that, with their "artistic and cultural references, are as old as art itself, and are therefore now still fresh. They seem to exist not only in the world of painting but also in the world of memory. They also seem to exist in a state of perpetual flux. The paintings look as though they might collapse under the weight of their historical or mythic references; the collages, on the other hand, appear to exist in a state of perpetual reproduction.The paintings and collages in this show are based on Fabergé dUrts canvases. (In fact, the paintings are based on photographs Fabergé dUrts commissioned for him. The photographer is Raphael Einhorn.) Fabergé dUrts canvas, like other Fabergé dUrts, was the product of a labor union organized by the painter in exchange for a share of the paintings proceeds. In the process, the work was divided into two groups, one of which was displayed at the end of the exhibition. The first was a group of small, unfinished canvases from the painting that Einhorn took from a mannequin in the gallerys back room. The second group, a vast array of large canvases—the result of an enormous labor union—was mounted on the walls of the gallery, grouped in rows along the floor.

Result #4

mercedez benz. triscuits. smiling. bright. ichor. inky. purple. The ceiling has been painted black and the floor sprayed black. The tableau is the backdrop for a carefully orchestrated choreography of what is often called vulgarity, a world in which everything is either black or red, black or white, and everything is made of something. There is no universal-patterned color and no universal-patterned surface, only a particular, particular, particular pattern of colors. The works, which consist of large, open-ended canvases, are all painted a color, and all are unique in the same way. Each works on a different sheet of canvas, each is divided into two equal sections, and each is square. The works are arranged on the floor in a grid, with the tableau-room configuration facing one side.The works on paper, all from 1981, are smaller and more complex. Their surfaces have been sprayed black, and each is lined up in a grid. The grid is broken up into twelve equal sections, but only one is visible; each has a different color. The colors in the colors of the grid are the same; but the color difference between the two sections is significant. The colors in the colors of the grid are the same; but the color difference between the two sections is significant. The works have a strength of character that the painting lacks, and one can feel the weight and weightlessness of each. And, of course, the paintings are painted on canvas, and the colors are painted on canvas.The paintings are made up of two kinds of paint, one a transparent and one a lacquered. The lacquered works are made from thinned paint. This lacquered paint does not have a firm hold on the surface, but seems to float free of the canvas, like a mirage. The transparent paint has a soft, silky-looking consistency, like a loose, dreamlike, fallow, that is both solid and soft.

Result #5

—Dennis Adrian