Beverly Fishman, Carl Fudge, Shirley Kaneda, Christoph Wedding
Petits formats abstraits June 14 – July 26, 2008
Beverly Fishman’s recent work depict diagrams of heartbeats, coloured pills, cells in isolation or in networks, IT frameworks and great voids saturated with colour. She is an artist who questions the nature of our relationship with technologies used to treat our bodies and our health – one that seems to involve both attraction and fear.
Carl Fudge complicates the visual reading of the object. He actualizes the relationship between abstraction and figuration in the present context of digital world and new physical science developments. Carl Fudge's paintings and screenprints explore the territory of hybrid modes. He uses an elaborate process that combines digital manipulation, silkscreenprint and meticulous painting.
At first identified with the post-formalism that emerged in the late 1980s, Shirley Kaneda has resisted stylistic consistency by continually revising and expanding her artistic approach. Her familiar vocabulary of biomorphic or linear shapes and patterns often seem to congregate and disassemble across vast white space-less fields. In the last few years she has extended the reassessment and reorientation of painting elements through the use of digital technology.
On a plain, or sometimes a graded background, Christoph Wedding draws unwavering curved lines in a thin, slightly transparent layer. These lines may all flow in the same direction, rather like blades of grass blowing in the wind. The lines may also be more organic curves and circles that intermingle, or masses of superimposed brushstrokes made with thicker paint that form a “shapeless” magma.