By Giuseppe  Marasco

Exhibition ends Sunday 11th August

A thematically tight exhibition. Were much of the works could be called painting with out painting. Much of the work nods to a modernist or abstract expressionist past. But possesses few of the hang ups we might have in Europe about negotiating those positions. There is a timeliness and a gentle quality to much of the work in this show. The means by which the works are made are as interested in the nature of materials being realized as well as nature and the immediate environment or mechanical. Much of he work looks at an unfolding of materials, or letting things happen and seeing what arises then taking further steps. Some of the work is informed by a poetics of nature or poetry from the American late modernist period. What is in evidence is a thoughtfulness throughout.

The tag 2.5 is apt in as much as that the works allow the world to enter the canvas and leave their marks, than just containing an element of relief.

whether in a serendipitous manner or in a thoughtful growing of the work or considerations of techniques and method.

Sam Falls … uses the sun to mark, bleach or burn the veil or fabric,  so the change in the material is by,  made using time as part of the medium. The time and duration of the work feels more open. so the circles sit heavier as if added, layered onto the veil, the dark black colour powdery jumps out.  Yet are of a process that has taken the surrounding colouration from what looks like the fabrics blowing in the wind…effect like currents of water captured.

Ned Vena works with Garvey Ink. (it was suggested in the gallery that this is used to stain meat). He is concerned with the sense of staining ( there is an enjoyable quality to this), perhaps standing in for memory or for the nature of effect and its longevity in the other and the public sphere. Staining suggests an immediacy or a moment in passing. It suggests a speed, and lets the medium separate, so the various constituent ingredients become apparent  … perhaps again suggest the time of the material. But, it definitely suggests waiting, for the paint to spread before taking action again. So you think about the waiting and the watching that goes on for the artist between steps. Curious effect, sort knowing that as we look at the spread of the material, there’s a similitude to our experience and the temperament of the making, at least in the in-between, when that artist just has to stop and watch. That’s the link between most of the work on show, the timeliness of the material and emergent application application.

Frank Stella, Stains the, limit of the material, made by playing, watching how far it will bleed through unto the material of the canvas underneath. Process, copy, depth and extension of act appear to be concerns.

How the image, works, where it is over loaded and plays with the intention of the design and exceeds its borders and intentions.

I think of how it is, perhaps playing with the nature of systems rationally set out, and the vitality of the world that exceeds and overflows them.

At this 176 gallery exhibition.  Americans also talking.  though at times gently gestural.

Kesyer in the above photo has salvaged corrogated iron and then had an industrial roller press the sheets of metal. So that they resemble soft wrinkled paper, then folding and  spray painting so that there is a rich entangle of layers and materiality are at play.

One of the attendants.  Commented “Why, where to start… With it?”   It is rich, I suggest that it’s material folding in on itself.

Fragments from a conversation with Rosy Keyser, (favourite this year).

Growing up in the woods between the borderland of Maryland and Pennsylvania.

Rosy Keyser was affected by the poetics and space that the countryside allows. Keyser still requires that time in countryside,so splits her studio time between Medusa and Brooklyn N.Y.

Keyser, touched on the use and meaning of Saw dust her work. This material as well as other are used in an intuitive manner,

“Saw dust is quite forgiving.” she says,  “It could be treasure or it could be nothing.” Keyser said. I naughtily suggested, and she took emense pleasure from the observation, that saw dust is often used to cover children’s puke… so that when you see an island of moist saw dust, you know… “Ah Puke!”, (I do emphasized this was my comic interlude, with which has nothing to do with Keyser work, She was simply sporting enough to entertain the conversation).