Pasta on blank white background

Result #1

Pasta on blank white background  is a direct reference to the couch, a product of modernity. The effort to use abstract signifiers as signifiers, to make the abstract signifier meaningless, is why the object can be made to sign: the form is just a signifier, the signifier signified. Faced with this, one wouldnt be able to follow the original work; it would be difficult to follow. The painting itself, the esthetic quality, is lost. The figure in the background is a partial snapshot—a recording of the future, a subjective reflection—of his reaction to the paintings presence. Like the image, this reflection is presented on a blank white surface; the painting appears vacant and void, a void without substance. This painting shows itself to be a void; it is at once dead and alive, a dead thing, and an image. The object is a representation of the void and a sign of the void, of the dead and living. In this painting, the void is a dead thing; the image is a sign of the void. The void is a condition; the image is a sign of the void. Faced with this, one is lost in the space of the void; one is on a path of passions that have no end. The world is in a state of flux; life is at a dead end; there is no destination.In the middle of the painting, where the traces of paint have dried, is the head, a symbol of an organism in a state of flux. The deep red paint that covers it makes it look like a corpse, like a living organism. This body is trapped in its own work; it doesnt know where to go; it doesnt know what to do. Here, the corpse is trapped in a void: it is an active and creative system, a birth force. The world is in a period of crisis; the world is on the verge of destruction.

Result #2

Pasta on blank white background  is described by an array of images related to nature and by a superimposed composite of a vintage album cover. The show was named after the medieval saint Francis Bacon, who wrote in the title of one of the five booklets the show featured. Heavier that volume in an album and listening to her stories becomes a metaphor for the richness of experience shes brought out of her unconventional ways.Casteeloss work is a take on the notion of memory. In the seven abstract photographs of a man in a lab coat and lab coat, the artist seems to be looking at a model, or at a photograph—something rather than at anything. This method of concealing and displaying memory in works such as the Latex paintings, which incorporate photographs of other objects, also distinguishes the work from the scientific and commercial use of photography that has recently taken hold in the art world. Casteeloss works on paper, and the exhibition included a series of the most seductive of these: three photographs of a womans hand (a chair, a seat, and an elongated rubber bicycle) as if the artist were using a crayon to make a picture.A series of twenty-six colorful, two-panel photographs of a non-objective object that was previously used as a model (a black glass bowl, a tennis rack, a shoe, and a footboard) was titled After…she/the model. This double image of a woman and a model is repeated in a series of watercolors of two similar objects. A similar image of the hand and a model is illustrated in a book on the nature of memory and its implications.In many ways, Casteeloss work evokes a relation to nature, for instance, the way in which she works in wood, plaster, and paint. But in Casteeloss images, the beauty of nature is not a mere reflex or figuration. Its emotional quality derives from the particular nature of her sources.

Result #3

Pasta on blank white background  is the central element of another group of four wall-based, arched stainless steel units, each with a slightly different head of cauliflower on the same piece of wood and each ready to be painted over in an eighteen-hour process. On the floor of each is a framed image of the bottom of a dark, sunken sinkhole in a brick wall. The same image—but one that is actually a distant black-and-white image of a finch—was also placed above the left-hand side of the sinkhole, and above the image of a floor-level vent vent with a passage leading to the ceiling. A selection of white latex-coated fiberglass-and-nickel-coated latex walls that are painted black as well as green and yellow and yellow-blue as well as yellow and black also run the other way across the floor of the chamber. In both cases, grayed-in filters look like white paint stains on a black background. In this configuration, the picture is revealed to be a layered, multilayered black-and-white image, as if the vanishing point of a collaged sheet of paper is a dark, parallel side of the same photograph. The piece, titled Bottled, is illustrated on a wall in a slide-factorylike surface, and also appears on the floor in its original glass-and-nickel-coated steel. The image is positioned atop a high white ceramic dish. The entries (pictures, made with colored dye) to this complex set of nested and varied hierarchies and other visual cues suggest a network of image lines, images, and titles. So the flower in Aquadae style is clearly a depiction of a flower (or, in many cases, a butterfly)—a different form of the same thing.The works in the series, all from 1997, were hung in a line on the wall.

Result #4

Pasta on blank white background  is this very gray rendering of a severed head, perhaps a stray from a performance by Danny Boyer. A hollow-eyed, ghoulish figure lurks in the background of the photograph. With its unevenly shaped nose, nose and mouth, the visage is uncanny. The grinning mask, its face a blank white, could be another of Man Rays Muppet-like characters from the 1980s. A close-up of the head reveals a picture frame.As if in response to the juxtaposition of Man Rays painting with that of Porfirio da Silva (Mirror), on which Man Ray has been stenciled a shadow of his own face on a canvas, the artist depicts the work as if it were a mirror. Man Rays work is meant to provoke and confront, to pose questions about painting and the nature of the world. But all this pretension makes for an untenably cute print.The exhibition included a number of framed photostats, some of them dated 1998. This work from 1998, from the same room as the works in the exhibition, suggests that the same two people did not actually paint the works. The photograph shows a nude man lying on a chair next to a table, and a paper cutout from Man Rays portrait of Henri dAcquemass. The photostat shows a parallel group of faces and a single figure. The subject of the photo appears to be a third figure, slightly larger than the others, who appears to be asleep. Perhaps the line drawing suggests that the man is asleep. Or maybe he is asleep. It isnt clear whether the person who is sleeping is asleep or dreaming.Porfirio da Silva, in fact, is the title of a painting by Pere F. Ilicis that appears in the show.

Result #5

Pasta on blank white background . . . , 2003, contains numerous doll parts, each in a different goth-type mood, arranged on a board. The resulting works complement each other, setting up the potential for as many ragged, fleeting moments as one could summon up. Nona Andries first solo exhibition in New York, titled Molly, 2003, was a welcome reminder of why some of these pieces remain unfinished. Some of the work here is at least entertaining; others, like Nona Andries paintings, often lack any trace of emotion. The feeling you get from her different moods was more like a haunted house or a psychotherapist. Nona Andries works may at first sound like the work of someone who is trying too hard to be interesting, but the result is a kind of boredom that never dies. In most cases, her work fails to succeed in making a connection with the viewer, as the viewer tries to make sense of the entire picture, or as the viewer attempts to keep up with the texture of the painting, the sculptural components, or the surface.Nona Andries paintings, she has stated, are mostly pictures of cats. But her intent is far more sinister. These paintings offer up a kind of heaven, in which everything is sacred and holy; the paintings are almost like a mystic declaration of intention. The paintings are filled with the sensual, passionate desire that is the most private, most intimate, and most sensual of human emotions. Nona Andries paintings are haunted by a vision of the insides of paintings, of the lost objects that will never come to light—the paintings, she claims, are not pictures at all, but sculptures.Nona Andries paintings, she states, are haunted by a vision of the insides of paintings, of the lost objects that will never come to light—the paintings, she claims, are not pictures at all, but sculptures.