Drawing For Painting For Electric Light, coloured pencil and graphite on isometric paper, 2013
PAINTINGS FOR ELECTRIC LIGHT
YYZ Artists' Outlet, Toronto
11 May - 10 August, 2013
For his solo exhibition at YYZ, Daniel Hutchinson has produced a series of site-sensitive paintings with coloured fluorescent light components under the title Paintings for Electric Light.
Seeking contingency rather than autonomy and emphasizing the primacy of perceptual experience, these pictures are produced considering carefully composed external relations–the gallery’s architecture and the relative positions of pictures and lights–and the moving spectator who perceives new conditions at every spatial location. The internal compositions of the paintings are geometric patterns that draw formal cues from the light fixtures, as well as the shapes of the supports, and the shapes of the cast light or shadows inside and outside of the picture plane.
These paintings for electric light continue the artist’s interest in the métier of painting, the tradition of the monochrome, and the interactivity of retinal opticality, but depart from the critical relationship to pictorialism his paintings have always maintained. Representing a completely new approach to painting for the artist, these works embrace the necessity of total non-objective abstraction and sculptural relationships.
The artist would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario.
Read the essay: A Field Without Origin / Notes on Paintings for Electric Light by Craig Rodmore
REVIEWS:
Daniel Hutchinson by Ben Portis, Border Crossings, 2013
Daniel Hutchinson / Paintings for Electric Light by Shellie Zhang, Artoronto
Daniel Hutchinson’s Paintings for Electric Light by Patricia Ritacca, YYZ
Seeking contingency rather than autonomy and emphasizing the primacy of perceptual experience, these pictures are produced considering carefully composed external relations–the gallery’s architecture and the relative positions of pictures and lights–and the moving spectator who perceives new conditions at every spatial location. The internal compositions of the paintings are geometric patterns that draw formal cues from the light fixtures, as well as the shapes of the supports, and the shapes of the cast light or shadows inside and outside of the picture plane.
These paintings for electric light continue the artist’s interest in the métier of painting, the tradition of the monochrome, and the interactivity of retinal opticality, but depart from the critical relationship to pictorialism his paintings have always maintained. Representing a completely new approach to painting for the artist, these works embrace the necessity of total non-objective abstraction and sculptural relationships.
The artist would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario.
Read the essay: A Field Without Origin / Notes on Paintings for Electric Light by Craig Rodmore
REVIEWS:
Daniel Hutchinson by Ben Portis, Border Crossings, 2013
Daniel Hutchinson / Paintings for Electric Light by Shellie Zhang, Artoronto
Daniel Hutchinson’s Paintings for Electric Light by Patricia Ritacca, YYZ
