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de (UK, 1948),
Colour Field Painting,
Parra & Romero is pleased to present , a group exhibition featuring works by seven artists who offer, through different media and forms, a reflection on the image’s movement and the nature of surface.
Five of the artists participating in the show ( (UK, 1948), (Switzerland, 1944), (EEUU, 1936- †1984), (1939, EEUU) and (Germany, 1930-†1985), are pioneers and historically crucial in the digital arts, abstract painting and sculpture. Common in their work is the analysis of the image beyond a mere geometrical composition, implying concepts such as place, space, time, movement and spirituality among others.
The show aims to point out that such questions about form and image continue to be explored nowadays, though in a more contemporary way. Works by (Swiss, 1974) and (Romania, 1974) contextualize and put in dialogue both generations of artists.
Nostalgia (1971)1 , is the most well-known of the series of seven films (titled Hapax Legomena) made by one of the father of the experimental film, (EEUU, 1936- †1984). This artist is considered as a structural filmmaker, a style that focused on the nature of film itself. The film explores the relation between sound and cinema, an area often disregarded in American avant-garde film, by demonstrating a disjointed relationship between the two. In 2003, (Nostalgia) was selected for preservation in the United States National Film Registry as being "culturally, historically and aesthetically significant".
Under the title 7362 (1967)2, the highly acclaimed and considered classic film by optical effect pioneer (1939, EEUU) is a psychedelic abstract work made of very graphic, layered and reflexive assemblages based on a mastery of optical printing techniques. It incorporates footage of oil derricks in Venice, California and nude models filmed in the artist’s studio. A bilaterally symmetrical fusion of human, biomorphic and mechanical shapes in motion; a combination through which O’Neill creates a graphic language that deals with how different and disparate elements assembled together in the frame, as a result relate to one another.
Et d’un processus. L’espace s’est dilaté (par en dessus, par en dessous) et le temps aussi (2010) by (Swiss, 1974) is a 16mm film of three minutes loop, featuring the patterns of the credits of the film Fahrenheit 451 by François Truffaut. Continuing the tradition of Moving image, the young artist presents a sample that frenetically strings together zooms on Hertzian antennas, reversing or cutting the images.
The screen, as some of the artist’s paintings, produces a centrifugal effect when the light bounces on it and spreads, changing our perception of the space. The game with the grids forms and the mixture of colors draw a singular ornamental graphic production.
2)7362 (1967) is Courtesy of Pat O’Neill and Lux (UK).
In parallel to the video works whose color, sound, and cinematic images are used in a symphonic mode, affecting the consciousness with unusual power, The Moving Image is featured in this exhibition through painting and sculpture.
On display, four monochromes of pure geometry (either historical or recent) by (UK, 1948), whose self-authored epigram says: ‘Alan Charlton is an artist who makes grey paintings.’ His statement was born out by his practice for some 40 years, as after working through other colors -red, brown, black-, he exhibited his first flat grey monochromes in 1972. Beyond the elemental and minimal painting, these works have a meaning rich in subtlety and ambiguity, and as suggests the artist, do not exist autonomously but transform the space that becomes part of the works.
Next to this selection, (Switzerland, 1944), one of the most valorated abstract painters of the European current scene, and considered a successor of painters such as Mark Rothko, Barnet Newman o Agnes Martin, presents a work from the Cornerfield Painting “series” (that he prefers to call “family name”). This painting from 1994, imbued with the artist’s spirituality, is conceptually close to his formal geometrical works from the 70’s. Ferderle has been travelling his whole life around the world, and his experiences with foreign cultures has deeply marked his artistic trajectory. He says each of his works “express a moment and a determined context”, and, according to the circumstances, has a certain “metaphorical quality”.
(Romania, 1974) ’s work has a distinct abstract pictorial language that references the formalism of Colour Field painting, and superimposes an array of digital printing techniques excavating the abstract surface. Drawing from an extensive archive of imagery, Chirulescu repeatedly scans from images that range from her own photographs to those taken by her father during the Romanian dictatorship, and through to computer screen-shots or technical irregularities that occur throughout the scanning processes.
Besides, is featured a reliefs series of aluminum concavely curved made by (Germany, 1930-†1985) in the 60’. This work is representative of the artistic evolution experienced by the German artist during this decade, as she increasingly minimized her use of color and shapes in painting, and began creating minimalist and performance-like.