Italian abstract painter Griffa, whose work was singlehandedly reintroduced to America and its prominent critics by Casey Kaplan Gallery
last year, has never believed in finality. Self-taught, he began tacking canvasses directly to the wall in the 1960s, storing them haphazardly so that they grew visibly creased and interrupting his own paintings so suddenly that his repetitive marks seem to end with little consideration at all. (He returns to them as quickly as he leaves.) With the folds of the unstretched canvas creating defined-yet-varying grids, and his fleeting marks adding raw humanity to abstraction, Griffa makes a persuasive case for anti-perfectionism and continual renewal.
Brooklyn scavenger Marlo Pascual cannot forget an image either. The artist enlarges photographs once-fated for the oblivion, and crops them without context. At the Casey Kaplan booth, the latest photographs in a series of untitled works present a female face halved and flipped upside down, and solitary hands that appear anguished. Does it matter where these photos come from? Their present is as confounding, open, and rewarding as their past.
On view at Casey Kaplan, Frieze London 2013, Booth A3, October 17th – 20th.