December 21, 2015 · Print This Article
By Kevin Blake
The front tire wobbles as the weight of the planking jerks the fork of the bicycle from side to side. It will take rhythm to get anywhere. It will require a centering–a perfect distribution of the unbalanced load. The salvaged wood scrap stretches across the handlebars, bending under its own heft as it distances from the bicycle on both ends. There are bricks in the back basket–a milk crate strapped with rope to the frame. It rubs the back tire like an out-of-place brake pad…the every-other-rotation kind of rub. The tires have the pancaked look of low air where the rubber meets the road. Conditions are ripe for an array of potentials.
This is a moment in a story. It is not necessarily the beginning, the climax, or the end. It is a picture of a picture–the recollection of an unclear memory, that morphs into clairvoyance only as it is repeated and deployed situationally. It is the word made flesh, and the flesh made word. It is the construction of one’s identity from available material–material that is both tangible and ethereal.
As I walked through Kati Heck’s inaugural exhibition, “Ins Büro!” at Corbett vs Dempsey, I found myself thinking about my own life as a scavenger–hoarding all the potential I could carry. I was seeing similar moments described in Heck’s images–potentials picked out of the mundane, or the recently discarded, and harvested to distribute into complex riddles with seemingly endless possibility. On the canvases, I could see the dialogue between the painter and the thinker. Between the subject and the object. Between the story and the fragmented reality in which it exists.
These concurrent and perpetual dialogues in Heck’s work are best understood through their relationships with the paint itself. For example, in the faces of central figures, there appears to be a deeply personal connection–not just to the sitter–but also to the technical precision by which she chooses to treat the face. Where there are sections of amplified care–smaller brushwork, attention to detail, and range in palette–there also seems to be amplified metaphor, or keys to following the artist’s inner dialogue.
“Alles-Mehr,” which google translated for me as “everything-more,” exemplifies this notion. In “Alles-Mehr,” one can follow the hierarchy of paint distribution–from the face, down to the jar of pickles, to the fabric, to the wood of the chair, to the skin, and to the wall. To me, the smaller marks represent larger roles in the image’s story. The larger marks are painting maneuvers. Small is big. Big is small. All are equally important to its existence as a painting–or as an aesthetically considered object of contemplation.
Here, a man appears to be in a pickle–as they say–four fingers deep. This idiom becomes the bedrock of the painting and it places the character in an air of mischief with an assuming look of low-cunning. The disappearing arm holds the glowing decoy–the legerdemain of the common wizard. Admittedly, this is merely one possible thread in a heap of narrative grist, but my guess is as good as the next viewer, and it doesn’t matter much if anyone gets it “right.”
In the painting, “Der süssliche Erinnerungsmehrwert,” Heck introduces a sculptural element to the painting by sewing canvas to the bottom of the frame where it becomes an extension of the painted fabric–it literally flows off of the rectangle and spills onto the floor. This move is indicative of Heck’s unflinching intuition–uninterrupted by any hesitation from exterior pressures. She doesn’t make decisions based on how it will be received, (see the velvet frame around the bad girl, “Petit Pity,” in the corner of the show)she responds directly to the impulse. Directly to the vision. Anything that is susceptible to transformation, is transformed. There is no shelter for this nomad–and although her work pulsates with influences from the establishment, she cannot be pinned down. She emerges with a triumph, or at least the execution and invention of something that could not be made by anyone else.
In an interview for the exhibition catalog, Heck tells gallerists John Corbett and Jim Dempsey, that the title of the show, “Ins Büro,” means “go to the office” and for her, the office is the bed she keeps in her studio. It is a factory of dreams from which she extracts and deploys content, stamping them with her industrious logo before they leave the warehouse. In a fractal universe fragmented further by processes of the human mind, it is no wonder that Heck turns to her dreams as a means of deciphering any truth from the ether. The result may be a world without language. A visual world. A world seen and understood simultaneously.
The compulsion to realize this utopia is undeniable. It wants to be seen. It wants to be described. It is on the tip of your tongue too–the cusp of your visual field as you lay in the darkness and attempt to solve the world’s puzzles in the most quiet of spaces–the safest of landscapes–your dreams. However, it never quite satisfies. It never quite gives you the tools to see that place and how it works. It appears partial. As disconnected. As unimportant. It appears as meaningless potential–a moment frozen until it is thawed and put to work. Kati Heck in her Antwerp studio, attempts to bring that flight of fancy out of the castle in the sky and into her own reality. Whatever is constructed there–out of whatever material is available to revolutionize–may not be true, but for the maker, it is true enough.
If I were you, I’d go have a peak at her temporary office.
Corbett vs. Dempsey
1120 N. Ashland Avenue 3rd Floor
Chicago, IL 60622
December 11-January 26, 2016
and by appointment
This week: Duncan and Richard talk to art superstar Luc Tuymans!
The following is shamelessly lifted from the MCA site:
Luc Tuymans (Belgian, b. 1958) is considered one of the most significant European painters of his generation and he has been an enduring influence on younger and emerging artists. Born and raised in Antwerp, where he lives and works, Tuymans is an inheritor to the vast tradition of Northern European painting. At the same time, as a child of the 1950s, his relationship to the medium is understandably influenced by photography, television, and cinema.
Interested in the lingering effects of World War II on the lives of Europeans, Tuymans explores issues of history and memory, as well as the relationship between photography and painting, using a muted palette to create canvases that are simultaneously withholding and disarmingly stark. Drawing on imagery from photography, television, and film, his distinctive compositions make ingenious use of cropping, close-ups, framing, and Luc Tuymans sequencing, offering fresh perspectives on the medium of painting, as well as larger cultural issues.
The artist’s more recent work approaches the post-colonial situation in the Congo and the dramatic turn of world events after 9/11. These series have led Tuymans to a sustained investigation of the realms of the pathological and the conspiratorial.