David Kordansky Gallery is pleased to participate in ART021 Shanghai Contemporary Art Fair with a solo presentation of new paintings by Los Angeles-based artist Will Boone. Notable for their scale, intensity of colour, and distinct, sculptural materiality, these major paintings constitute Boone’s first new body of work since his 2019–2020 solo exhibition at the Contemporary Arts Museum Houston in his native Texas. ART021 will be on view at the Shanghai Exhibition Center Saturday and Sunday, November 14–15, 2020. A private viewing for invited guests will take place Thursday and Friday, November 12–13. The gallery and the fair take seriously the health and safety of visitors and staff and are following the recommended Covid-19 guidelines accordingly.
Will Boone draws from a variety of American subcultures to produce paintings, sculptures, videos, and installations that map the features of sociological and iconographic landscapes. The aesthetics of bars and cattle ranches; the materials used in custom automotive work and on hobby figurines; and the frenetic energy of punk and hardcore music and horror movies are but a few of the thematic categories to which he makes reference. 'Reference' is perhaps too limiting a word: Boone inhabits these categories on an archetypal level, teasing out their emotional valences and producing works that sometimes border upon pure abstraction. The result is an artistic project that is remarkable for its visual and conceptual focus, especially given the heterogeneous nature of his processes and mediums.
Boone’s paintings are perhaps the clearest examples of his ability to condense broad swaths of research and material experimentation into searing, indelible compositions. His most recent canvases emerge from an ongoing chronology that has evolved in the direction of dissolution and sculptural immediacy. If earlier paintings were dominated by bold, glyph-like forms that resembled written letters—and subsequent ones found him introducing objects like flags in ways that disrupted hard-edged shapes and imbued his surfaces with palpable relief—his newest works incorporate materials like duct tape, a cowboy’s lariat, and a flattened sake lantern in large, open fields of resin and acrylic paint. Many of the paintings are dominated by a vivid red hue and a series of interlocking linear shapes, both of which Boone has described as 'arterial' in a nod both to the colour of highly oxygenated blood and the organisation of highways around urban centres.
For all of their immersive power, Boone’s newest paintings are also full of intricate details and juxtapositions indebted in equal measure to careful construction and the free movement of materials. Pouring paint and resin and spreading it with rollers, Boone creates circumstances in which certain elements press forward toward the surface and others recede into the painting's depths, seemingly of their own volition. This lends the work an unnerving aliveness, giving new meaning to the term 'action painting' and calling to mind the geological forces at play in tar pits or underground in oil wells. In these thick and surprisingly luminous fields, relics of Americana and symbols of the West float into view, evoking a mythical amalgam of Californian and Texan moods and vistas. Boone’s forays into pure abstraction always maintain a palpable sense of place; increasingly they also communicate the energies and contradictions of particular moments in time, channeling both the anxieties of our age and the drive to ground universal themes in local conditions, characters, and things.
Will Boone (b. 1982, Houston, Texas) has been the subject of solo exhibitions at the Contemporary Arts Museum Houston (2019); Galerie Patrick Seguin Paris (with David Kordansky gallery as the 2018 featured gallery of the annual Carte Blanche series); David Kordansky Gallery (2018); Karma, New York (2017); and the Rubell Family Collection, Miami (2014). A major installation was featured in Desert X 2017, Coachella Valley, California (2017). Other group shows include Zombies: Pay Attention!, Aspen Art Museum, Colorado (2019); White Trash, Luhring Augustine Bushwick, Brooklyn, New York (2017); Prototypology, Gagosian Gallery, Rome (2016); Andrea Rosen Gallery (with William Pope.L, 2016); Fétiche, Venus Over Manhattan, New York (2016); and Love For Three Oranges, Gladstone Gallery, Brussels (2015). Boone lives and works in Los Angeles.
—
大卫·柯丹斯基画廊荣幸宣布将参加ART021上海廿一当代艺术博览会,并带来洛杉矶艺术家威尔·布恩(Will Boone)的新绘画个展。本次展出的画作以大尺幅、浓烈的色彩强度、独特的雕塑材料性为特征,这是威尔·布恩自2019 - 2020年在其家乡德克萨斯州休斯顿当代艺术博物馆举办个人展览之后,创作的首批新作品。ART021上海廿一当代艺术博览会上海展将于2020年11月14日(星期六)至11月15日(星期日)在上海展览中心举办。11月12日(星期四)和13日(星期五)是受邀嘉宾非公开预览。
威尔·布恩的绘画、雕塑、影像和装置作品,从美国本土各种各样的亚文化线索中汲取灵感,并将它们在社会学和图像学上的特征编织起来。从酒吧和畜牧场式美学,到定制汽车和小玩具塑像所使用的材料,再到朋克、硬核音乐与恐怖电影中迸发出的狂热能量,它们都成为艺术家参考主题库中的重要素材。“参考”这个词或许过于局限:布恩将这些类别放置在一种原型化语境中,并巧妙地提取出其情感表现力,从而创造出近乎纯粹抽象的作品。由此产生的作品具有着实令人惊叹的——特别是考虑到艺术家的创作过程及其所使用的材料的异质性——视觉和观念的刺点。
布恩的绘画最清晰地展现了艺术家的构图能力,即将其广泛的研究素材、材料实验浓缩成极具张力、令人无法忘怀的视觉画面。他最新的画作按时间顺序追溯了具象消解、雕塑即时性生成的演变轨迹。如果说,布恩早期的画作以粗犷、类似于书写文字的象形符号之形式为主——他随后的作品中引入了旗帜等物件,打破了硬边的形状,从而给表面注入一种明显的浮雕感——那么,他最新的绘画则通过大量使用强力胶布、牛仔套索和居酒屋灯等材料,给合成树脂和丙烯颜料开拓了空间。这些绘画常常被鲜艳的红色色调、以及一系列相互交错的线性形状所占据,布恩将这两种形态称为“动脉”,因为这既是含氧量高的血液的颜色,也代表了从城市中心向四周延伸的高速公路的结构。
布恩的最新画作不但具有沉浸式的力量,同时也充满了错综复杂的细节和并置,这些都得益于精心的构建和材料的自由流动。布恩把颜料和合成树脂倾倒,然后用滚筒铺展开来,使得画面中的一些元素向表面推进,而另一些则退至深处,似乎是在行使着它们自身的意愿。这不但赋予作品一种令人不安的活力,也给“行动绘画”一词增添了新的含义,使人联想到焦油坑或地下油井中潜伏的地质力量。在那些厚重却异常耀眼的土地上,美国文化的遗迹和西部的符号浮现在视野中,唤起了揉杂了加州及德克萨斯式的情绪、景观的神话般的混合体。布恩对纯粹抽象的尝试始终保持着一种明显的空间感;它们也越来越多地传达出特定时刻的能量和矛盾,进而将时代的焦虑与特定地点、人物和事件的普遍主题连接起来。
威尔·布恩(1982年出生于美国德克萨斯洲休斯顿)近期个展举办机构包括:休斯顿当代艺术博物馆(2019);巴黎帕特里克·塞金画廊(其中,大卫·柯丹斯基画廊作为2018年“全权委托”项目委托画廊);大卫·柯丹斯基画廊,洛杉矶(2018);卡马画廊,纽约(2017);卢贝尔家族珍藏馆,迈阿密(2014)。他的大型装置作品亮相于美国加利福尼亚科切拉山谷的“2017沙漠X”。其他群展包括:“僵尸:请注意!”,阿斯彭艺术博物馆,科罗拉多(2019);“穷白佬”,鲁林·奥古斯丁画廊,布鲁克林,纽约(2017);“原型理论”,高古轩画廊,罗马,意大利(2016);安德莉亚·罗森画廊(与威廉姆·坡普·L一起,2016);“恋物癖”,金星曼哈顿空间,纽约,美国(2016);“三个橙子的爱”,格莱斯顿画廊,布鲁塞尔,比利时(2015)。布恩目前在洛杉矶生活和工作。
有关 威尔·布恩的更多信息,请点击此处浏览。
David Kordansky Gallery represents these artists: