Ocula MagazineContentsView All
Featured ContentView All
Pierre Huyghe: The Artist as Director Ocula Conversation Pierre Huyghe: The Artist as Director

Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev , was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and...

Fade out copy.
Read More
MoMA Expansion: Once the Modern, Always the Modern Ocula Report MoMA Expansion: Once the Modern, Always the Modern 29 Nov 2019 : Mohammad Salemy for Ocula

In the early decades of its existence, New York 's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...

Fade out copy.
Read More
Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight
Sponsored Content | Mazzoleni Gallery
Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy. Born in Leipzig in 1904, Hans...

Fade out copy.
Read More

‘Jason Martin: Meta physical’ at STPI

Ocula IGTV
3 May 2019

British artist Jason Martin's solo exhibition Meta physical (23 March–4 May 2019) at STPI in Singapore was the result of his residency at the Institute, during which he experimented with the techniques of embossed relief, paper pulp painting, and paper casting. Most works in the exhibition are monochromatic—black, white, red, neon green, and blue—as is characteristic of Martin's practice. In each work, the texture-heavy surface documents the artist's bodily movement in the process of its creation, an approach developed from his concern with the physical properties of his materials.

In this video, STPI Gallery Executive Rachel Tan discusses a selection of three paintings from Meta Physical. Rainmaker and Hereafter (both 2018) are paper pulp paintings that Martin created by using his hands to mold the wet paper pulp. With their tactile and sculptural surfaces, the works call for an up-close inspection. Such an inspection reveals the paper as extremely thin despite the apparent weight of the pulp on it. The relief print Out of mind (2018) shifts depending on the viewer's position in relation to it. From afar, its plane seems to be filled by expressive marks and horizontal lines over washes of red paint; once close, however, the intricate marks within the lines—a result of the rotary device Martin employed to prepare the printing plate—become visible.

Martin was born in the United Kingdom's Channel Islands in 1970, and graduated from Goldsmiths, University of London, in 1993. His early abstract paintings from the 1990s show the artist developing various methods of manipulating oil and acrylic paint, such as dragging, scraping, or combing the paint across different supports in an investigation of its materiality. The horizontal painting Lover (1997), for example, features soft undulating lines in an expanse of red caused by combing through the wet paint, while Detox (1999) depict a pattern of upright and upturned triangles in sweeping strokes, painted in acrylic on aluminium.

An artist who experiments with a range of materials and techniques to create abstract paintings evocative of post-Minimalism and Colour Field Painting, Martin also creates metal-cast works. For his solo show Painting as Sculpture at Lisson Gallery, Milan, in 2013, the artist presented small copper- and nickel-cast works such as Cabo (2013), which captures the thickness, texture, and volume of a glob of paint on a smooth surface.

It was also around this time that Martin took a three-year break from working with oil paint because he wanted to rethink his relationship to it. He resumed his work in the medium in 2016 with simpler approaches. Instead of the large paintbrush, for example, the artist adopted smaller, hand-held brushes for paintings such as Untitled (Davy's Grey / Ivory Black) (2016). In this painting, broad strokes (made by the hand-held brush) across the canvas form uneven horizontal lines, while the top and bottom are smoothed out in an interplay of control and chance.

For Martin's current solo exhibition at Lisson Gallery in London (15 May–22 June 2019), titled Long Way Home, he expanded his practice to work with graphite. In collaboration with the paint manufacturer Old Holland, the artist invented a new type of oil paint in two shades with graphite in its mixture. The shades, named 'Jason Graphite Grey' and 'Jason Graphite Grey Deep', give the resulting paintings a slight metallic finish. Also on view are other monochromatic paintings by Martin.

STPI (Singapore Tyler Print Institute) is a not-for-profit creative workshop and contemporary art gallery that, since 2002, has been promoting artistic engagement with print and paper through exhibitions, workshops, public programmes, and an international residency programme. In the forthcoming Art Basel in Basel (13–16 June 2019), STPI will present works by Martin alongside the works of artists such as Ryan Gander, Carsten Höller, Shirazeh Houshiary, Kim Lim, Do Ho Suh, Pae White, and Haegue Yang.—[O]

Sign up to be notified when new articles like this one are published in Ocula Magazine.


Scan the QR Code via WeChat to follow Ocula's official account.

Scan to follow Ocula on WeChat.
iCal GoogleYahooOutlook