The breadth of Hélène Delprat’s creative practice attests to an omnivorous curiosity. She bends time-periods, genre, and the limits of taste to craft a conceptual and pictorial universe that is as immersive as it is idiosyncratic from a vast archive of literary, historical, film, and pop cultural references. She will present three important and recent works from her corpus.
Associating objects from everyday life with reused industrial materials, Dave Hardy composes “autonomous structures that seem to override the basic principles of balance and gravity with the grandiloquence of impossible shapes.” The contradictions and contortions that he inflicts on matter push back the limits of physics and engage the spectator in a physical confrontation.
Originating in graffiti, Pablo Tomek has taken his practice further: he now examines the bonds between the heritage of graffiti and abstract expressionistic painting, while also misappropriating the techniques and aesthetics of manual work. Exclusive abstraction is called into question in face of Pablo Tomek's paintings, because to crystallize a gesture, an action, a power, an impulse, is to depict it, to make painting a representation of that, and from style and form then emanates meaning, a representation.
As for Letha Wilson, she tests our relationship to space through a skillful and dense hybridization of materials. The images that she collects in the canyons and deserts of the American West to print onto concrete and the natural elements that she photographs then prints onto geometric material – in short, the new physical regime that she imposes on images, redefine the very notion of landscape.