Garth Weiser 21 Apr - 27 May 2017 (You can smell the art 😉) . . . . . #vsco #vscocam #london #londongallery #gallery #simonleegallery #garthweiser #art (at Simon Lee Gallery)
seen from United States

seen from United States
seen from United States
seen from United States
seen from South Korea
seen from Brazil
seen from United States

seen from Türkiye
seen from Türkiye

seen from Indonesia
seen from United States

seen from Türkiye
seen from China

seen from Türkiye
seen from Brazil

seen from Australia
seen from United Kingdom
seen from United States

seen from Australia
seen from China
Garth Weiser 21 Apr - 27 May 2017 (You can smell the art 😉) . . . . . #vsco #vscocam #london #londongallery #gallery #simonleegallery #garthweiser #art (at Simon Lee Gallery)
Have you ever met Garth Weiser?
Garth Weiser’s paintings are the product of layers, each resulting equally
from chance as they do from a conscious manipulation of time and material.
The works outwardly display a quick, surface effect that belies a slow,
systematic building.
The “interference-pattern” works disguise themselves as monochromes
and forgo the spinal element that characterized previous paintings, instead
favoring an allover composition. Creating an attention that lingers on the
surface, the pattern functions as a barrier, limiting access to the painting’s
layers. Despite maintaining their references to digital distortion and abstract
organic patterns (such as wood grain and aquatic vibration), these works do
not merely create an optical effect. Their muddled and degraded edges work
to give shape to a pulsing, auditory hum. In some cases, the interferencepattern
is interrupted by blistering lacerations that appear at once to be
erupting from the under-painting and attacking the first layers of painting.
Moreover, the new copper works acts in direct and conscious opposition to
the deceptively staid appearance of interference-pattern paintings, with their
molten finish that is almost geologic in its force. Weiser first applies piles
of colored paint in a free form and gestural manner. The copper membrane
then covers and in effect hides the expressionistic under-painting. The works
then become sites of excavation. The artist uses a razor blade to scrape and
gouge their surfaces with an intensity that at times punctures through the
paper itself. The brevity of the physical cut negates however the series of
fluid actions that precedes it. And in their following along the impulsive
and spontaneous gestures, the incisions are rendered topological and graphic
– a slice reveals the heaped residue of a now dissolved process.
ISSUE 3 PREVIEW: SYSTEMS OF BELIEF
Four artists reflect on the drive to create
Anoka Faruqee 2012P-38 :: Garth Weiser Heavy Drinker Chews Tobacco
Garth Weiser Heavy Drinker Chews Tobacco, 2011 Oil on canvas
76 x 63 in.
Garth Weiser Heavy Drinker Chews Tobacco, 2011 Oil on canvas 76 x 63 in. [detail]
Jessica Dickinson, Liam Everett, Alex Olson, Josh Smith, and Garth Weiser
Installation View