October 18–November 10, 2013
Opening reception: October 18, 7–9PM
Viewing hours: Thursday–Friday 5–7PM, Saturday–Sunday 12–6PM
244 N 6th Street
Brooklyn, NY 11211
(T) 718 753 7363
ventana244.org | email@example.com
Ventana 244 presents: A new exhibition entitled POV, featuring paintings and an installation by New York based artists Eric Brown and Edward Schexnayder. The artists have collaborated on this exhibition and have worked together to create both individual works while presenting an intersection of their points of view.
According to Eric Brown: The paintings created for this exhibition continue the exploration of the window motif I have been applying most recently in my work. I am using the window as a structural / framing device and as a metaphorical representation for the viewer / self. I want to heighten the feeling of looking, whether it is looking into or looking out to something – creating a spatial ambiguity yet maintaining the window as a constant in the picture plane. These six paintings are created using stencils made from sourced images––in this case barred prison windows. The structures that Ed is creating that will come out from the wall will act to accentuate the physical painting object as actual window on an architectural element in the gallery space.
According to Edward Schexnayder: Perspectiva, in Latin, literally means to see through. It implies an abstraction, a constructed view of the world. A point of view associated with linear perspective required a one-eyed viewer that is always in a fixed position relative to whatever is being viewed. When one is falling, it is also important to have a view, or at the very least, something to relate to. For of course, if one cannot fix one's self to anything, one cannot know that one is falling. Sometimes when pilots go into free fall, they report feeling a confusion of their body with the plane. They essentially become one as all means of establishing relative positions become impossible.
In my work, I am typically drawn to notions of repetition, infinite reproduction, and the parameters that establish originality or authenticity. For instance, I am very intrigued how the general becomes a necessary function of the virtual. Eric's paintings I found to be intensely intriguing in their stubborn insistence on the paradoxical attention to both a foreclosed view and the implication of an opening or revealing in the visual codes that he works with. I wanted to both accentuate these and frustrate them at the same time. In this manner, I repeat his paintings and concerns in my structures that then equally call to attention to the spatial elements of the exhibition space. The paintings, my structures, and the gallery space become one––much like the sensation in free fall. As the filmmaker and theorist Hito Steyerl has argued, free fall is a current condition of our time. But this is not such a catastrophe, as she writes, "Falling means ruin and demise as well as love and abandon, passion and surrender, decline and catastrophe. Falling is corruption as well as liberation..."