October 1, 2014 · Print This Article
By Kevin Blake
I drift. A good drift. A perfect drift. One that will catch a nice trout. I swing my rod overhead and flick the tip upstream. Mend. Mend. Recover and drift….fish. My memory takes me downstream and the water sweeps my feet from underneath me. I allow the current to drag me away from here.
As I rush past the shores of my recollection, I realize that it may take a lifetime’s worth of attention to learn the secrets of the river. I realize that each section of the stream requires a different understanding and consequently, a different approach, to unlock the mysteries of each pool, eddy, and riffle. I’m reeling but not too aggressively. I don’t want to lose this fish.
Fly fisherman, like painters, have an uncanny ability to liken any conversation to their pursuits with a rod or paintbrush, on the theory that the essence of anything is in how it relates to their quests. In Kim Piotrowski’s show, Catch and Release at Linda Warren Projects, this perpetual metaphor is alive and well and permeating from the walls of the gallery. The rush flows from one piece to another. The fish spook and swim under rocks and stay there until I walk away, only to emerge again as I distance myself from the work–forcing me to return and throw another glance at the image. These are freshwater works(predominately made with water-based media), bottomless and infinite–their currents creating a generative energy for their creator that seemingly erodes her immediate boundaries and transforms those limits into the conditions upon which the next work is made.
I lodge the toe of my boot underneath a submerged log as to brace myself for another run. It’s trying to get away from me. I hold my rod high and behind me with my left hand and keep my right hand on the reel. My body twists to make the position possible. I’m adding line as fast as the fish rips it off. The cold water makes new seams around my legs, adapting to my temporary damn. I watch my line tighten. The fish changes direction–and once again–I’m reeling.
I stand suspended in the gallery, surrounded by effort–large and small. Piotrowski has transformed the space to not only display her achievements, but to advance her inquiry. In her debut exhibition with LWP, Piotrowski casts her lines in every direction. Her massive site-specific painting done directly onto a gallery wall that spans 43 feet, is a glowing example of her fearless attempts to allow opportunities to be the source of her invention. She has titled the piece Tide Tango and in her words, it represents “the dance we do with the rush of thoughts as life runs over and through us.”
Like the river, Piotrowski’s paintings meander, dash, swirl, and coalesce in spaces that cannot be confined by the limits of the page. She recognizes the necessity to expand the space into different formats(see Corner Lot, 2014), providing new borders to break free from and allowing new puzzles to emerge.
Piotrowski’s paintings remind me of Matthew Ritchie’s complexly scaffolded spaces that find organization in chaos. The ability of arbitrarily small occurrences to greatly affect the outcome of a painting is particularly present in both artist’s works. Though Piotrowski seems to be making the paintings with much less discrimination. Less rules. Less fuss. More risk. Yet, in both artist’s work, there are common mark-making strategies, similar viscosities in paint applications, and there is an ever present familiarity in the natural locomotion of fluids on the surfaces they paint on. While Ritchie seems to be interested in corralling those fluids to work within his system, Piotrowski seems to let paint go where it wants, and her next move is a response to its uninhibited resting place.
I’m bringing him afoot. The line is tight but loosening. As the fish lays down, I pull him softly toward my free hand. In an instant, before I could grab him and at exactly the moment our eyes meet, he gives one last fit of terror and snaps free of the fly.
Fishing and painting are matters of timing in a changeable universe, and even when one returns to a place or moment of success, its doubtful that it will be under the exact conditions. Having broken the rhythm of a brilliant performance, it’s possible to never go back at all, and one shouldn’t go back–forward is the only worthwhile direction. The next hole upstream holds a trophy too, and its there that Piotrowski seems to be constantly aiming.
Life is a dangerous and unmanageable mess, but somehow these paintings have achieved a different description. Piotrowski’s description of life and linear time, is something much more approachable. Catchable even. As life runs over and through her, Piotrowski stands in the river waving a stick, trying to catch the catchable and upon success, immediately releases it back into the water for the next fisherman to stumble upon.
This week Mark Staff Brandl interviews ex-pat artist Leonard Bullock.
Originally from North Carolina and New York City, Bullock has lived in Europe for the last 15 years, frequently exhibiting in Switzerland and Germany. He was often involved in significant events of the artworld in important locations, including starting an artist run gallery in the 80s in NYC, assisting Leon Golub and more, thus making him the source of a wealth of interesting anecdotes and unique criticisms.
Bullock is a painters’ painter especially in his mark-making; his direct facture has influenced many better-known contemporaries. He often paints on surprising surfaces such as fiberglass or silk and includes text and images with pure abstraction.
In the “outro” to this weeks show, Duncan defends the good name of Joseph Mohan, against Richard’s inappropriate commentary. Read more