Wade Guyton
27 May - 21 Aug 2011
WADE GUYTON
Zeichnungen für ein kleines Zimmer
27 May – 21 August 2011
Wade Guyton's artworks bear the traces of the accidents of automated production. An Epson inkjet printer reproduces nonrepresentational compositions, primarily in black and shades of gray . Circles, squares, stripes, oversized sans-serif typography. The abstraction the artist implements using standardized word processing, graphic design, and digital printing software is heightened by variations in the quality produced by the printing technology: tears, folds, now more, now less color on the canvas, saturation issues, and defects—every printing process represents a new blurring of authorship. Wade Guyton's works, which the artist often presents in site-specific installations tailored to the particular exhibition space, recall Jackson Pollock's production aesthetic. But even in his choice of media and instruments, Guyton marks his distance from any purist discourse on painting: prefabricated support media whose maximum width is determined by industry norms as well as thoroughly regulated software and color variations that more or less defy individual decision-making on the part of the artistic subject. Wade Guyton weaves a web of referential systems that must gesture toward the "real" world in order to stand in its ground in that world. For his exhibition in the Secession's Graphisches Kabinett, the artist is developing new works.
Wade Guyton, born in Hammond, Ind. (US) in 1972 lives and works in New York City (US).
Zeichnungen für ein kleines Zimmer
27 May – 21 August 2011
Wade Guyton's artworks bear the traces of the accidents of automated production. An Epson inkjet printer reproduces nonrepresentational compositions, primarily in black and shades of gray . Circles, squares, stripes, oversized sans-serif typography. The abstraction the artist implements using standardized word processing, graphic design, and digital printing software is heightened by variations in the quality produced by the printing technology: tears, folds, now more, now less color on the canvas, saturation issues, and defects—every printing process represents a new blurring of authorship. Wade Guyton's works, which the artist often presents in site-specific installations tailored to the particular exhibition space, recall Jackson Pollock's production aesthetic. But even in his choice of media and instruments, Guyton marks his distance from any purist discourse on painting: prefabricated support media whose maximum width is determined by industry norms as well as thoroughly regulated software and color variations that more or less defy individual decision-making on the part of the artistic subject. Wade Guyton weaves a web of referential systems that must gesture toward the "real" world in order to stand in its ground in that world. For his exhibition in the Secession's Graphisches Kabinett, the artist is developing new works.
Wade Guyton, born in Hammond, Ind. (US) in 1972 lives and works in New York City (US).