His canvases are so stunning with shades shifting so subtly that viewers can’t help being drawn in to wonder what they are viewing. More ostensibly uncompromisingly, the late Rudolf de Crignis would paint so many layers to yield what appears to be a solid blue surface (one that he would always refer to as gray as if to declare a kind of non-referential neutrality and a permanent state of irresolution). Yasuda notes how some people may look at his work and say there’s nothing there, but the truth for him is that “what is not there ends up being the subject.” And it changes as you move. He tries to get to the point where there can be no specific associations but where the work may convey instead “feelings, optics, or the way your eye operates in delighting in color.” An abstraction, is taken from something else, he notes, where as a nonobjective work is free of association (which may or may not be the case, but for argument’s sake, it works.). Robert Yasuda, a near monochromist, claims to seek total nonobjectivity-which he distinguishes from abstraction, as he explains in a video made at P.S.1 as was reinstalling a site-specific piece he’d made for a show there 50 years ago. His sculptures, stacked cubes in modulated shades, also give barely a clue to personal associations. In this way Houshiary conveys feeling, mood, and rhythm, which we perceive almost subliminally.īy contrast, much of the impenetrable work of Mexican-born sculptor Bosco Sodi, who is currently the subject of an exhibition at Paul Kasmin gallery, consists of solid enigmatic mounds of textured and intensely colored pigment that could be viewed at most as barren landscapes or deserts, but there are no or clues-just dense substance. Her works have compulsive underpinnings-almost invisible writing that appears as uniform color and is made up of the words of prayers or songs, for example, written repeatedly in cursive, forming waves of tone and intensity. Iranian artist Shirazeh Houshiary, showing now at Lisson Gallery, offers only ostensibly monochrome renderings.
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