Muniz challenges the viewer to look at these historic paintings through a new lens, focusing the attention on
the literal creation of the works and the richness and purity of each colour used.
Not exact matches
In the
Creation series, Furnas» technique integrates wholly with concept, as his method
of pouring paint along a grooved surface on the canvas introduces gravity into the
work in a physical and
literal sense, as the imagery depicts the sequence
of events leading to the Fall
of Man.
This impasto «surface interference» also recalls Stingel's
creation of inscribed or imprinted surfaces in abstract
works, whether the seminal gauze paintings, Styrofoam reliefs, or the
literal fragments
of trodden carpet that he has transposed onto walls.
In his
Creation series, for example, Furnas» technique integrates wholly with concept, as his method
of pouring paint along a grooved surface on the canvas introduces gravity into the
work in a physical and
literal sense, while the imagery depicts the sequence
of events leading to the Fall
of Man.
And this
literal and metaphoric space seems to be the real subject
of Thomas»
work, which asks us not just to imagine an alternative art history filled with faces
of color but also to envision the equitable
creation of black masterpieces now and in years to come.
Working through conceptual constructs including the new, the banal, and the sublime, he has taken his
work from its
literal, deadpan beginnings in readymades to baroque
creations that extol innocence, beauty, sexuality, and happiness in confounding combinations
of abstraction, figuration, sumptuous effect, and pure spectacle.