When describing post-1960s painting, critic Douglas Crimp points to artist Frank Stella’s practice. In his essay “The End of Painting” (October Journal) Crimp describes Stella’s work as a “hybrid object, an object which may well represent a painting but certainly can not legitimately be a painting.” L’Inconnue aims to expand on this term as title for it’s inaugural exhibition Hybrid Objects from October 21 – December 17, 2016.
Hybrid Objects examines the challenges of 1-D representation in painting, in the face of recent technology. The selected artists react against the current fast-paced nature of technology or alternatively, embrace the power of technology and its ability to further the presentation of their work. Technology is a prosthetic device, an extension of the artist’s hand, changing the process and conception of a work. Furthermore, materials are at the core of an artworks’ conception. The method in which the materials are manipulated and produced give birth to the subject. The Readymade and the Tube of Paint by Thierry de Duve defines painting as readymade. Its material source is a pre-fabricated consumer object i.e. the paint tube.
Artists Chris Dorland, Hanna Hur, Alex Morrison, Adrianne Rubenstein, Corin Sworn and Zin Taylor push the limitations of paint tubes by employing a diverse toolkit of materials to create their work: cotton, canvas, linen, wood, aluminum, silk, cooper, printer ink, oil paint, coloured pencil, chinese marker, Indian ink and lac extract.
Through December 17
Zin Taylor’s images are Courtesy of the Artist and Supportico Lopez, Berlin
Corin Sworn’s images are Courtesy of the Artist and Koppe Astner, Glasgow
Chris Dorland’s images are Courtesy of the Artist and SUPER DAKOTA, Brussels