pt.2 gallery is happy to present “what aspect of the whale”, Tyler Cross’s to start with solo exhibition, the show is made up of 4 huge paintings on formed panels, four compact diptychs, and 5 modest bronze wall sculptures. The genesis of this system of do the job can be traced to a whale carcass that washed up on the seaside at Stage Reyes Nationwide Seashore in 2019. Tyler visited the carcass each number of months over a two calendar year period.
The four modest diptychs manufactured from two 8 x 11 canvases give an expansive and zoomed out experience inspite of their dimension. These paradoxical paintings show up to display us grand scenes, probably landscapes or a little something colossal, far absent and at low resolution. They really feel like polaroids capturing some uncommon occasion, but we are retained from ever genuinely being aware of what.
The bronze wall sculptures, which could in shape in your flattened hand were forged from plywood. These picket kinds had been previously employed as equipment in Tyler’s portray system, normally employed as stencils or stamps. In retiring these equipment and eulogizing them in bronze they act as artifacts of the painting process. They give the effect of sarcophagi for an older condition-language no lengthier staying spoken.
The 4 significant paintings are comprised of formed canvases, nailed un-stretched to a picket panel of the very same silhouette. The powerful outer form echoes into itself, revealing a charcoal framework, earning them reminiscent of X-ray photos. The skinned and mounted canvases reveal a painter’s hypnogogia, bubbling up to illustration but constantly sliding again into abstraction, they hardly ever fairly ring a bell for you, never fully carry the veil. This gives them a marginally ominous sense in spite of the dazzling, at instances just about neon hues. The canvases appear to be churning, rhythmically oscillating with existence and absence. They exhibit something in the midst, a sensitivity to dynamism and the potential to reply to it. A course of action would seem to be underway, the sigilization of putrefaction in distorted time-lapse. The paintings resistance to outlining on their own delivers forth motivation, the refusal to give distinct details awakens creativeness, the irretrievable summons eros. Little by little gazing at these paintings feels like an antidote to staring at much too numerous graphs – way too lots of charts – as well a lot of info – far too numerous memes. There is no details below, no discourse, only experience of the 1st get, a form of understanding that is becoming increasingly unusual.