Not exact matches
The exhibition at Lisson Gallery includes Untitled (White Multiband, Vertical Strokes)(2003), incorporating glass
microspheres in acrylic on canvas; multiple works from the innovative White Band series; and recent
paintings from the Black Band series; alongside the lightbox Untitled (Electric Light)(1968/2017), composed of argon and Plexiglas.
In the late 1970s and early 1980s, Corse briefly switched her production to large
paintings with heavy slabs in dark clay, but soon returned to
painting and incorporating
microspheres into the medium.
In 1968, she began to embed glass
microspheres, tiny reflective beads commonly used to brighten highway signs, in her
paintings by mixing them with white acrylic
paint.
Corse treats light as a subject and material of her
paintings, activating them by using refractive glass
microspheres that are common in highway
paint.
The exhibition at Lisson Gallery will include Untitled (White Multiband, Vertical Strokes)(2003), incorporating glass
microspheres in acrylic on canvas; multiple works from the innovative White Band series; and recent
paintings from the Black Band series; alongside the lightbox Untitled (Electric Light)(1968/2017), composed of argon and Plexiglas.
Mary Corse's minimalist
paintings are created by incorporating reflective glass
microspheres, a process she has developed over the last five decades.
«We felt it was important to introduce her work so people realize she didn't just land on this idea of
painting large monochromes with glass
microspheres, but there she is someone who was trying out all kinds of things.»
But in 1968 she changed direction when she applied tiny prismatic glass beads (or «
microspheres,» the kind found embedded in some highway signs and line dividers), to
paint before brushing the mixture onto prepped canvases.
She also sought to find a way to «put the light into the
painting» — a pursuit that soon led her to glass
microspheres, the tiny prismatic beads most commonly found in highway dividing lines to illuminate lane boundaries at night.
Her techniques have included the use of electric light, ceramic tiles, and glass
microspheres, with which she creates simple geometric configurations that give structure to the luminescent internal space of her
paintings.
So I made these black earth pieces, and then that allowed me to do black
paintings with the reflective glass
microspheres I had been using in the white
paintings.
Rail: When you started making the
paintings with the
microspheres, you also created very specific lighting conditions for them?
This focused exhibition highlights critical moments of experimentation as Corse engaged with tropes of modernist
painting, from the monochrome to the grid, while charting her own course through studies in quantum physics and complex investigations into a range of «
painting» materials, from fluorescent light and plexiglass to metallic flakes, glass
microspheres, and clay.
She innovated a technique of mixing
paint with tiny
microspheres to achieve an illuminating effect, which creates an ever - changing sense of movement.