At Praxis, Saul Sanchez Updates Donald Judd’s Definition of Minimalism
Installation view, Saul Sanchez, “One After Another,” Praxis, New York. Courtesy of Praxis, New York.
At first glance, Sanchez’s body of work might look incomplete: each untreated canvas features a single blue square, bordered by what appears to be masking tape—a material often used to ensure straight edges during the process of painting, but usually removed before a finished work’s big reveal. But there is more than meets the eye, here. Sanchez hasn’t mistakenly left masking tape on his surfaces; instead, he’s painstakingly painted each strip so as to fool the eye. In this way, Sanchez elegantly, and somewhat cheekily, fuses two devices that don’t often find their way to the same canvas—
This unlikely marriage also has its roots in
Commentary about the history of abstraction aside, Sanchez’s paintings shine for their emphasis on the simple beauty of his squares. Each has been painted in “ultramarine blue,” a vivid hue that entrances the eyes. Sanchez applies paint thickly, giving the forms a rich texture that suggests an endless abyss or, perhaps, the depths of the ocean. Taken together, the canvases come across as tiny square portals into otherworldly realms.
Rounding out the show is a series of delicate paintings on sketchbook paper, most of them tacked directly to the wall. Each shows a few strips of (painted) masking tape arranged to make a shape. Here, it is almost as if Sanchez is playing a game, exploring how many different compositions he can make from the barest essentials. In both groups of works, Sanchez turns the tools of painting into abstract compositions, blurring the lines between object and process, representation and abstraction.
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