Posted on
2011-11-21
Exploring the subject of floral still-life painting. Similar to the artist’s earlier work, the seriesexamines the relationship of representational painting to the medium of photography. But rather than focusing on a specific artist or time period, as in the previous Thiebaud and Early American works, the new series references a pictorial convention within painting as a whole. The artist’s sources range from the style of early Flemishpainters, such as Bosschaert and Jan Brueghel, to the Modernists Odilon Redon and Fantin-Latour.
The work engages time in both a sense of history and temporality. Flowers are the most temporal of objects: fragile, changeable, and short-lived, a flower’s bloom opens, bends, fades and falls according to degrees of light, temperature, water, and weather. It assumes its character from its atmosphere. As a subject for art, however, flowers have been portrayed for centuries by artists of all stripes and have an established permanence in the lexicon of art history.
It is between these polarities of transience and permanence that the current work is situated. With an eye towards the flower in its natural state and as well as the styles of representation that attempt to order, organize, celebrate, and lament a fleeting symbol of beauty throughout history, Core hasthoroughly explored the nature of the painted bouquet.
Opposite – 1665, 2011
Exhibition runs through to December 23rd, 2011
Yancey Richardson Gallery
535 West 22nd Street 3rd floor
New York
NY
10011
www.yanceyrichardson.com
