Even if the media-spectrum extends from classical oil and acrylic-based paint all the way to aerosol automotive paint. A fundamental observation: Black, with all the delicate tonalities, subtle shadings, varied absorptive and reflective possibilities that a multiplicity of pigment types enables, in fact possesses remarkable characteristics and qualities of color. Black has therefore long had an important role in painting, and particularly in non-representational art, with Kasimir Malevich and Ad Reinhardt only two of the most prominent examples.
The two painters’ common engagement with black as color — fundamentally as well as in their current and ongoing work — provided the initial impulse for the exhibition BLACKOUT at dr. julius | ap. Beyond this thematic overlap, however, the artists diverge significantly in terms of background and motifs, which lends the combination of their work a specific appeal.
For three decades, Don Voisine [b. 1952, Fort Kent, Maine, US] has succeeded in producing work that follows stable, self-defined rules, while also remaining innovative and demonstrating a widely varied engagement with consistent themes. His paintings, executed in the somewhat archaic technique of oil on wood, are concerned with the relationship between figure and ground, background and foreground, symmetry and asymmetry, with monochromaticism, and color contrast, the painterly evocation of light, and the texture of surfaces. His formal repertoire consists of color fields—in most cases, black—that overlap in the center of the painting, often diagonally. These are set off by the finest of lines from colored elements on the edges of the paintings in such a way that strong contrasts become a part of the composition. Through this contrast, as well as through the brushwork and geometry, Voisine’s essentially two-dimensional work develops a suggestion of spatiality, also called hard edge architectonic painting by American critics, which describes both the context of his reception and the work itself. Still, in three decades, neither the elements nor the artistic techniques have become stylistically referential ends in themselves. Rather they remain variations of a self-defined artistic repertoire that continually pursues its artistic approach in ever-new forms within a certain spectrum.
Don Voisine is one of the best-known representatives of contemporary abstraction in the USA. In addition to being presented in numerous galleries in New York, Chicago, Miami, San Francisco, and other cities, his work has also been acquired by many American museums. He currently has a solo exhibition at the Center for Maine Contemporary Art’s newly opened annex, in Rockland, Maine.
As Don Voisine’s primary European gallery, dr. julius | ap will once again present a duo-exhibition of the artist’s new work during Berlin Art Week, following the success of 2013’s CRISS CROSS STRAIGHT ACROSS.
Jan Maarten Voskuil [b. 1964, Arnhem, NL] has always engaged with painting as object, which is to say with the object-quality of painting. The frame, the stretched canvas, and the paint applied to it become the starting point for three-dimensional works created through plastic molding. This process turns pictures ultimately into sculptural objects that consist of curved frames and individual elements that bend in space. The bent and cut segments of such a piece are usually highly-colored monochromatic surfaces that follow a geometric modulation of form, tracing this modulation and making it manifest. Color and surface configuration are thus the media of the sculptural quality of the painting-object. Voskuil’s artistic development included a long period in which he deconstructed his materials to the point of complete decomposition, creating pieces where form was utterly exploded — only later to turn back toward the forms of ideal geometry such as the rectangle, the square, and the circle, bringing to bear new understandings and insights gained from his engagement with this theme. In this way, both the figural modulations and his artistic skill have grown toward mastery, making his pieces fascinating not only for their unique formation but also for their technical craftsmanship.
In particular, this duo-exhibition at dr. julius | ap presents Voskuil’s most recent work: a series in which the artist has sprayed his formed surfaces with black automotive paint. The series therefore incorporates an investigation into the reflexion and absorption of light in the context of formal invention.
Jan Maarten Voskuil’s work can be found in galleries, museums, and public and private collections across Europe, the United States, Australia, and Asia. His most recent duo-exhibition at dr. julius | ap was D-FORM in 2014.
Don Voisine [US] + Jan Maarten Voskuil [NL]
Opening Thursday, September 8, 2016, 7–9 pm
Exhibition through October 15, 2016
Thursday–Saturday 3–7 pm and by appointment
dr. julius | ap
S-Bahn Julius-Leber-Bruecke + Suedkreuz · Bus 106 + 204 T +493024374349 · www.dr-julius.de · email@example.com