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Snowball Gallery - Shlomi Greenspan





Shlomi Greenspan

from ABC: ANYTHING BUT CANVAS [July 8 to 25, 2010]

 

[L] Reverie [2008]
Mixed media on wood panel
36”x 36”

[R] Echoes II [2006]
Mixed media on wood panel
36” x 36”

    

The Bicycle Thief
[2009] 
Acrylic on panel and projection 
36” x 48”

Statement:

My work is motivated by a desire to liberate the painting from its stillness. To overcome the boundaries of a frozen image I document the narrative of mark making and meaning involved in each painting’s production. This documentation is then projected back on to the panel.

The passage of time and the traces left behind are important elements in my practice. Generally the creation of a painting consists of a series of moments that are concealed by progressive layers, resulting in a final composition. These layers are not visible when viewing the finished work. In contrast my paintings contain these moments, producing an archive of the work’s own history.

Through the constant documentation of adding and subtracting paint from my working surface I accumulate a library of images. Once projected the work attains a contrast between the ephemeral nature of the projection and the corporeal presence of the abraded panel, demonstrating a symbiotic relationship. The completed work contains the narrative arc of its perpetual creation.

My paintings push against the confines of their medium. Conventional engagement with paint is allowed to exist only as traces applied onto the panel. In my practice the interface between the projected image and the surface conjures a new space, encouraging the viewer to contemplate the work as constructed memory.



561 Ephemeral Moments
[2010]
from PERSPECTIVE [March 18 to April 4, 2010]

    

The 2008 collapse of the Wall Street banking giants marked the largest financial upheaval since the Great Depression. Yet, less than a year later, the widespread alarm and call for prudence has been forgotten as if by magic.

561 Ephemeral Moments
explores this perpetual cycle of destruction and recovery. The blue and red lines depict the movement of the Dow Jones and the NASDAQ. The dynamic stock market intertwines with the act of painting and the futile race between two vehicles. The speed of both cars correlates to the movement of each stock, accelerating as they rise and decelerating as they fall. Ultimately this leads to the market crash followed by its subsequent recovery.

Artist Statement:

My work is motivated by my desire to liberate the painting from its stillness and to overcome its boundaries as a frozen image by turning it into an animated sequence of mark making and meaning. This desire stems from my interest in the passage of time and the traces it leaves behind. Every work of art is created by a collection of moments, and my work attempts to contain all these moments, producing a self-archive of its own creation.

Through the constant documentation of my process of adding and subtracting paint from my working surface I accumulate a library of images. Editing them into an animated narrative, the animation is then projected onto the painting, displaying the narrative arc of its perpetual creation, attaining a contrast between the ephemeral nature of the projected images and the corporeal presence of the abraded panel.

My motivation to merge cinematic conventions and the painted object is achieved through the execution of the work and its installation, giving the viewer a sample of both worlds; an equilibrium between two ways of perception and understanding of mediums often perceived as separate practices.

Bio:
Shlomi Greenspan is an Israeli born artist. He began his studies in Graphic Design at the Avni institute of Art and Design in Tel Aviv, before leaving for New York. After dividing his time between Tel Aviv and New York City, he moved to Toronto in 2005 to pursue his studies in painting. He received his Bachelor of Fine Arts in drawing and painting from the Ontario College of Art and Design. Currently, Shlomi lives and works in Toronto. His work has been featured in various group exhibitions, notably at Katherine Mulherin Contemporary Art Projects and XPACE Cultural Centre. Shlomiʼs practice works to merge cinematic conventions with painting. The completed installation merges both the documentation and the completed painting, producing a self-archive of its own creation.



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