The 58th Venice Biennale, May You Live In Interesting Times (11 May–24 November 2019), certainly benefitted from low expectations, given the lacklustre curatorial of the previous edition, when different segments of the show were conceptually framed with titles like 'Pavilion of Joys and Fears' and 'Pavilion of Colours'. Add to this the...
Hong Kong-based artist Zheng Bo's social, ecological, and community-engaged art practice has, in recent years, focused on moving beyond a human-centred perspective to an all-inclusive, multi-species approach. He takes up marginalised plants and communities of people as subjects in his large-scale interventions, which reintroduce wildness into...
The weather was clement for the annual Auckland Art Fair (2–5 May 2019), which was again at The Cloud on Queens Wharf. This year's edition was a get-together of 41 galleries, mostly from around Auckland and across New Zealand, with 5 spaces hailing from Sydney and the rest from Cook Islands (Bergman Gallery), Hobart (Michael Bugelli Gallery),...
Timothy Taylor is very pleased to announce an exhibition of new paintings by Eddie Martinez, the artist’s second exhibition with the gallery.
Deeply indebted to the histories of painting, yet realised in an immediately contemporary manner, Martinez’s canvases – formed from oil paint, enamel, spray paint, screen printing and studio detritus – are loaded with coloured, quasi-abstract masses in varying densities juxtaposed against shifting lines. The resulting dynamic imagery moves and merges from figuration to abstraction and back again.
Cowboy Town sees Martinez depart from recent bodies of work, as paintings are once again primarily figurative, although not reminiscent of early figurative works, but rather a next step from his more recent abstract canvases. Each painting in this new body of work not only steps back into figuration, but also into an almost subconscious narrative, however this plays out in an open way. Gestures are strong but also impulsive. The paintings are full of energy and movement – images linger just out of reach, eluding fixed identity. One of Martinez’s remarkable traits is his ability to intuit the general mood of the world around him and translate the sentiment very clearly to his painting.
“As the maker I try to keep myself outside the narrative as much as I can or, at the least, I try not to walk people through it.”1
In Cowboy Town the paintings are raw, pared back, exposed. Backgrounds are solid, with imagery almost hovering on top. The paint is thinner, there’s an obvious reduction in ‘stuff’. And while the palette is typical Martinez – strong blues, yellows, reds – the underlying tone is sinister. The paintings are bright but nonetheless dark. For example, in the title painting, Cowboy Town, a face emerges through colour and gesture with a distinct expression of foreboding and dread.
“What I relate to most in my own work and process is the speed and raw unfiltered mark making.”2
The title, Cowboy Town, bears numerous references. As with Island I, his last exhibition here, there’s an association with music, and specifically Rastafari culture. Music is always key to Martinez’s process. Mood and sentiment is processed through music, before entering the canvas. In this case, the Black Uhuru song can be understood as a theme for the entire project.
Martinez has exhibited internationally, including Kunstmuseum Bonn; The Saatchi Gallery, London; Garage Centre For Contemporary Culture, Moscow; Museo de la Cuidad de México, Mexico City; and Deste Foundation Centre for Contemporary Art, Athens.
In September 2017, Martinez will hold a significant solo exhibition of works on paper at the Drawing Center, New York. Martinez will also hold his first solo museum exhibition in the USA in late 2017, at The Davis Museum at Wellesley College, Massachusetts.
Eddie Martinez was born in 1977. He lives and works in Brooklyn.
1 Eddie Martinez interviewed by Alisoen Gingeras in Salmon Eye, Mitchell-Innes & Nash, New York, 2016.
2 op cit.
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