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Gedi Sibony Untitled 2009 Plastic sheet, packing tape, ink 290 x 183 cm

‘Sibony’s Untitled is a monumental assemblage of plastic wrapping and packing tape. Its overwhelming scale magnifies its fragile physicality, making its precarious presence simultaneously awesome and embarrassed. At first glance Sibony’s piece seems happenstance, as if the packaging of a work had been hung, rather than the work itself. The brown tape however, forms a rough image of a canvas on an easel; sketched out on the clear tarpaulin, Sibony’s witty conceptual game challenges expectations of perception and demythologises the processes behind art production – from the laborious work in the studio to final exhibition - making the creative methodology quite literally transparent.’

#Gedi Sibony

Jedediah Caesar Untitled (White Domino) 2006 Resin, pigment, studio detritus 5 parts, dimensions variable, each piece approx 38.1 x 38.1 cm

‘Caesar’s Untitled (White Domino) progresses the strategies of process art, creating finished pieces which are conceptually streamlined and aesthetically savvy. Cut from the same block, each of the components is a cross section exposing the various materials suspended in the tinted resin, giving the impression of prehistoric drawings or excavated treasures found in slabs of exotic minerals. Presented in a henge-like arrangement, Caesar’s sculptures pose as luxuriant ruins, eliciting mysticism and wonder from a contemporary ‘archaeology’.’

#Jedediah Caesar

Jedediah Caesar Dry Stock 2007 Urethane resin, polyester resin, pigment, aluminium, titanium, wood, and mixed media. 29 panels (28 installed, 1 leaning) Approximately 7 1/2 x 17 1/2 feet x 3/4 inches

‘Comprised of 29 individual panels assembled as one large piece, Jedediah Caesar’s Dry Stock is a ‘painting’ that might best be described as a sculpture. To make this work Caesar collected the dirt and other items meant for the trash from carpentry and metal cutting factories and used them as ‘pigments’ and readymade shapes of colour and texture for his abstraction. Sealing these within a large solid block of resin which was then sliced into thin segments, the tiny objects suspended in the work’s surface give the effect of giant microscopic slides. Presented in chronological order, the tableau reads from top to bottom like a film strip, scrutinizing the dissected progression of objects in space. Through recycling the inevitable waste of production, Caesar approaches making as a form of hyper-efficiency, transforming excess and offscourings into an infinitely detailed and beautiful abstraction. ‘

#Jedediah Caesar

#giorgio griffa

oliveral

Robert Ryman, Untitled. Oil on canvas. 1958

mentaltimetraveller

Robert Ryman 1969 Oil on Fiberglass 48 x 48 cm

#robert ryman

studiopractices

Some tricky but useful words re: Robert Ryman

“Ryman’s connection to a material history of painting as support for practice is tacitly understood without being made literal as a way of making instead of representing. Never becoming the subject or composition of his work, the history of painting does, however, inform his beliefs as to the possible effects of the medium, based on what has worked for artists in the past. Ryman eschews trajectories or narrative retellings in favor of an atemporal yet conditional mode of presentness in which the whole of painting can be abstracted to abet his investigations into its continuing relevance and viability (emphasis mine).”

– Suzanne P. Hudson, robert ryman - used paint, p140