The works of both artists consistently
explore language patterns and the «new semantics [that] emerge in conversation with out post-digital era», creating alternative aesthetics out of their interactions with both human - and machine - made language systems.
Not exact matches
You can see them in Our words return in
patterns (part 1), a group exhibition organised by NOVEL with ICA curator Matt Williams at Galerie pcp in Paris and drawing on artists whose work
explores language and fiction.
In their recent practice, both artists
explore the ways in which human / machine
language patterns and new semantics emerge in conversation with our post-digital era.
Bernard Cohen's paintings are recognised for their complex pictorial
language, in which densely woven lattices of line, shape,
pattern and colour are
explored as a way of processing and recording lived experience.
While black dominates the works in the exhibition, the artist also employed passages of color on canvas works to
explore patterns and create a new visual
language.
Altmann rather
explores geometric
patterns inherent to stylistic modes of pre-modern artistic production revealing the idea that a reductive
language was developed and used long before our times and days and was integral part of culture.
Known first for his circle paintings, Noland became a defining Color Field painter by rhythmically
exploring a wide range of acrylic hues in a visual
language of chevrons, diamonds, horizontal bands, and plaid
patterns on variously shaped canvases, one as wide as 7.3 meters.