Brian Fahlstrom
02 Jun - 21 Jul 2007
Enveloped Chambers, 2007
Oil on canvas
191.77 x 238.76 x 5.08 cm
75.5 x 94 x 2 inches
Oil on canvas
191.77 x 238.76 x 5.08 cm
75.5 x 94 x 2 inches
Birgid Uccia
Powder Night, 2007
Oil on canvas
77.47 x 50.80 x 5.08 cm
30.50 x 20 x 2 inches
Powder Night, 2007
Oil on canvas
77.47 x 50.80 x 5.08 cm
30.50 x 20 x 2 inches
Vision, 2007
Oil on canvas
220.98 x 191.77 x 5.08 cm
87 x 75.50 x 2 inches
Oil on canvas
220.98 x 191.77 x 5.08 cm
87 x 75.50 x 2 inches
Eclipse, 2007
Watercolor on paper
27.9 x 17.8 cm
11 x 7 inches
Watercolor on paper
27.9 x 17.8 cm
11 x 7 inches
Escalation, 2007
Oil on canvas
178.43 x 243.84 x 5.08 cm
70.25 x 96 x 2 inches
Oil on canvas
178.43 x 243.84 x 5.08 cm
70.25 x 96 x 2 inches
Brian Fahlstrom
02 June - 21 July 2007
Within the framework of the Suzie Q Projects and for the first time in a European solo show, Birgid Uccia and Bob van Orsouw are proud to present works by Brian Fahlstrom, an artist born in 1978 who lives and works in Los Angeles. Fahlstrom’s paintings are already to be found in private collections such as the Saatchi Collection/London and the Rubell Family Collection/Miami.
His pictorial vocabulary testifies to his uniqueness and lighthearted freshness. The artist very cleverly makes a reference to the origins of modern painting by the question: “What do we look at when we look at a painting?” formulated in ever new pictorial inventions. We find neither symmetries nor geometric grids on his canvases. What dominate instead are forms that are organic all the way to concentric, as the result of the artist’s sweeping and expressive use of the paintbrush.
Fahlstrom’s landscapes disintegrate into long, forcefully swinging lines that engender a wave-like dynamism. The whole picture plane seems to be on the move, as if the landscapes – having renounced the force of gravity – now follow an unknown vortical compulsion. Color has been spread flat and likewise formulated in pulsating contours. It almost seems as if these very contours are trying to tame the explosive force of the paint applied in several thin coats. The paintings thus testify to a curious inner tension, in part owing to the conception of the picture plane.
Most of the works seem to be composed as if they had been painted from the edges inwards to the central vanishing point. Which is why the impression is of several fore- and background layers that give unusual depth to the picture. By means of the optical simultaneity of the colors, their subtly graded chords, by means of the primacy of the line and the unmistakable rhythm of the brush, paintings emerge in which the landscape has become a metaphor “for the sublime recklessness of painting itself; a practice driven by the timeless pursuit of beauty.”
Release, 2007
Oil on canvas
144.78 x 151.13 x 5.08 cm
57 x 59.5 x 2 inches
02 June - 21 July 2007
Within the framework of the Suzie Q Projects and for the first time in a European solo show, Birgid Uccia and Bob van Orsouw are proud to present works by Brian Fahlstrom, an artist born in 1978 who lives and works in Los Angeles. Fahlstrom’s paintings are already to be found in private collections such as the Saatchi Collection/London and the Rubell Family Collection/Miami.
His pictorial vocabulary testifies to his uniqueness and lighthearted freshness. The artist very cleverly makes a reference to the origins of modern painting by the question: “What do we look at when we look at a painting?” formulated in ever new pictorial inventions. We find neither symmetries nor geometric grids on his canvases. What dominate instead are forms that are organic all the way to concentric, as the result of the artist’s sweeping and expressive use of the paintbrush.
Fahlstrom’s landscapes disintegrate into long, forcefully swinging lines that engender a wave-like dynamism. The whole picture plane seems to be on the move, as if the landscapes – having renounced the force of gravity – now follow an unknown vortical compulsion. Color has been spread flat and likewise formulated in pulsating contours. It almost seems as if these very contours are trying to tame the explosive force of the paint applied in several thin coats. The paintings thus testify to a curious inner tension, in part owing to the conception of the picture plane.
Most of the works seem to be composed as if they had been painted from the edges inwards to the central vanishing point. Which is why the impression is of several fore- and background layers that give unusual depth to the picture. By means of the optical simultaneity of the colors, their subtly graded chords, by means of the primacy of the line and the unmistakable rhythm of the brush, paintings emerge in which the landscape has become a metaphor “for the sublime recklessness of painting itself; a practice driven by the timeless pursuit of beauty.”
Release, 2007
Oil on canvas
144.78 x 151.13 x 5.08 cm
57 x 59.5 x 2 inches