{"id":128,"date":"2024-03-08T14:44:48","date_gmt":"2024-03-08T14:44:48","guid":{"rendered":"https:\/\/juliengardair.com\/2024\/?p=128"},"modified":"2024-03-08T18:41:58","modified_gmt":"2024-03-08T18:41:58","slug":"malin-2023","status":"publish","type":"post","link":"https:\/\/juliengardair.com\/2024\/artwork\/malin-2023\/","title":{"rendered":"Malin, 2023"},"content":{"rendered":"\n
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Malin, 2023

Acrylic on canvas, folded, cut, stitched, and stretched over wooden stretchers
16 \u00d7 12 in | 40.6 \u00d7 30.5 cm<\/figcaption><\/figure>\n\n\n\n

Was part of the show:
Julien Gardair & Melanie Vote: Concurrence, presented by Garvey|Simon at DFN Projects, New York, NY.<\/a><\/p>\n\n\n\n

The painting cutout series combines the materiality of Support\/Surfaces with the exuberance of Pattern and Decoration while sharing the radical constraints of Minimal Art. The works are ambiguous and simultaneously political statements, bold paintings, decorative ornamentations, textile, and craft works. They are tactile and abstract while including sometimes represented subjects. A double-sided painting is folded, cut, unfolded twice, then stitched to another. The cuts follow a sustainable system that generates zero waste in a continuous piece. The folds expose what lies behind them. The stitches are a visible and healing way to assemble the parts, inviting the possibility of restoring the painting to its original state. The series explores the interaction of these surfaces. It creates a trustworthy space where nothing gets discarded or forgotten. By utilizing every part, I aim to make more with less and reconcile the apparent contradictions between positive and negative shapes, figuration and abstraction, freedom and constraints, one and another, past, present, and future.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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