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symmetrical: (via artunion) Scott Lyall’s exhibition at Sutton Lane, Paris, comprises a series of new paintings and vinyl adhesives that are based on unique printouts in which pale colours derive from mathematical interpolations. These works suggest a penumbral, shimmering light, and appear to be -indeed- nude, but they are actually the result of successive layers of colour applied to canvas or vinyl.   The image which is composited to run continuously across the support is made up of digital files containing thousands of different colours. The works have no reference in photographs, scanned or internet captured images. Rather, it is the movement from pure quantity to the output of the printer without the mediation of design. Each work is prepared as a unique sequence of information that questions the medium of painting from outset to circulation. In the case of the vinyl adhesives, only a sale or a curatorial request calls a new work into being. In this sense, this series of works highlights the contemporary economy of speculative value. Once exhibited, if the work is not selected by a collector, a curator, or some other ‘perpetuating’ institution –ie., if no-one requests or purchases the right to print it again— the particular file moves into the past of the archive. Then, the only thing that remains is a record of its existence in the real. - Art Union | Facebook | Twitter

symmetrical:

(via artunion)

Scott Lyall’s exhibition at Sutton Lane, Paris, comprises a series of new paintings and vinyl adhesives that are based on unique printouts in which pale colours derive from mathematical interpolations. These works suggest a penumbral, shimmering light, and appear to be -indeed- nude, but they are actually the result of successive layers of colour applied to canvas or vinyl.

 

The image which is composited to run continuously across the support is made up of digital files containing thousands of different colours. The works have no reference in photographs, scanned or internet captured images. Rather, it is the movement from pure quantity to the output of the printer without the mediation of design. Each work is prepared as a unique sequence of information that questions the medium of painting from outset to circulation.

In the case of the vinyl adhesives, only a sale or a curatorial request calls a new work into being. In this sense, this series of works highlights the contemporary economy of speculative value. Once exhibited, if the work is not selected by a collector, a curator, or some other ‘perpetuating’ institution –ie., if no-one requests or purchases the right to print it again— the particular file moves into the past of the archive. Then, the only thing that remains is a record of its existence in the real.

-

Art Union | Facebook | Twitter

2011.12.26  6:39am  ∞

Post Notes

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    lifeiscarbon® ❘ carbonislife® ❘ blackgraphite®
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    Scott Lyall’s exhibition at Sutton Lane, Paris, comprises a series of new paintings and vinyl adhesives that are based...
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