SOL KORDICH

Building upon the well-trodden ground of process-based abstraction, Kordich’s practice employs gesture and color as mediators between two vernaculars: one native to the canvas and another to time itself. Painting for Kordich is a performative process, a biographic choreography that engages her entire body in rhythmic creation. Her marks are loose, open, and characterized by a nonchalance that belies the intention and rhythmic focus of their author. Kordich’s picture planes exude a dense network of strokes and colors that intimate a nascent simmer of tension at each knotty juncture of paint.

Kordich’s work begins, like many things do, with herself. If one imagines the space of painting as irreducible to the terrain of canvas and extends to the space and time of its production, Kordich’s paintings become less of a discrete final object and more so selective records of a given time, frame of mind, and haptic occurrence. This density engenders a sense of immersion and sensory richness. Just as the dense foliage of a rainforest overwhelms the senses with its sights, sounds, and scents, Kordich’s highly saturated and intricate works envelop the viewer in a tapestry of colours, shapes, and textures, stimulating contemplation.

Kordich’s work merges literary rigour and aesthetic sentiment, employing abstraction to connect physicality to the inner musings of the human psyche. Chaos converges into harmony through the interplay of tempo and colour in her works, inviting viewers to embark on a journey of discovery.

Having originally studied architecture, Kordich’s work is perhaps best summed up as employing one of the most basic, yet difficult, things for any building to achieve: a question of how space is responsible for psychological responses. Coupled with a rigorous journaling practice, Kordich untangles her own musings about the universe, the self, and the invisible forces that shape our existence. Abstraction becomes a means to articulate these explorations without losing the sense of indeterminacy native to a thought’s earliest state of development. In doing so, she forges a symbiotic relationship between words and abstraction, transcending verbal limitations.