B a r r e t t W h i t e —

from Shovelware

the intrinsically absurd undertones of our collective historical blast, the evolving presence, absorbing ambient light within this offsite

metabolic topographies read like dusk-lit pentimento, caved in alpenglow, as an endpoint, transcribing life cycle, snowy gesso resulting in the background of this reconstituted identity

distorted 2-D oval, the late 80s, sinuses: a series of formally particular works increasing in complexity and scale

ephemera pin ideas of tragic, convulsive beauty and mutable watercolors testify, mutable watercolors clockwise from entry, private collection frustration testifies and pessimism slips crucially by the wayside between subject and outside world

two large-scale vibrant works on paper feature mesmeric plays of color and line that speak to his late-career formal explorations 

hybridized forms coexist on the same plane, between daydreams and cringe

there is a sudden reaction to pressure—that crescent shape of shattered urn sgraffitoed across those permeable bodies in space, moving as one, encroaching the territory, clutching their tools, their viewership’s criticality

these are denser interior spaces of subjective unknowing than we know, and graphic potentialities of pastel and laserjet simultaneously embellish and obliterate

the artist improvises between images and energies, between tragedies and trends, transporting their mark-milking into a glittery metallic unforeseen line of meltdown, soft power, regeneration

some trinket is vulnerable 

their contrived rubric loses all specificity, a strained but rigorous attempt leads to the debasement of most vacant forms, yet materials conform to a body, invent a hybrid drawing practice, pressurize conditions for language—get sewn and stretched (in the round, in a way)—saturate primordial urges, reject those acrylic conditions in grayscale silo, applied grisaille, pre-smoke, needling rain

her cameraless photography encapsulates the cataclysm of noon’s croissant, the velocity of its splatter

the radical praxis of this grant-funded complex motor, neoexpressionist bottle of water, writer-as-curator, plural mist slung to checklist

the solo-titled gesture toward the wall, height, styrofoam, a small patch, pieces in a folding screen, labels, letters, unnoticeable text landing in space, moving through a place, absorbing meaning, essential informations, the intention that scripts the body of work as something else

idiocracy in cubist manifold

recognized as software, flowers abstract relatives to software, the dynamic is problematized, cruel and romantic and up for constant negotiation in this autonomous painting

bonehead sociological qualities…the medium presupposes origin by way of exploited printmaking, but where to align these codes? 

riffing manual human errors, contrasting corrupt croquis, iconic descendants of icons, generational aesthetics conjure up flattening time-and-place-based affiliations in graphite

chemical sublimation via vignette: a desiccated landscape, a pinterest too ominous to overarticulate, bro’s floating signifiers remain a perverse decomposition per this cycle of this disposal, this obsolesced, smudged by painterly strategy, rendering disarticulated bacteria, vanity of vanities

gold leaf, artist’s frame, dimensions variable, silver gelatin, light-sensitive paper, bronze refractive, the body entire, or a cabinet, sawdust paste and clawfooted table, too small for a dog, Rhode Island School of Design, 2003

unpaid intern fills to line, PVC gossamer of the delicate still lives chills in urban views—doc’s smog on kunstverein granting access to site-responsive commission—overpainting, stencil design: this skews the object, reprograms the world in some faint image, in optical space, a canvas on a stretcher

it’s intuitive experience, she pronounces these confrontations, reframes the waterfront in a fusion medium of UV-cured ink and clear epoxy, comptrolling the scene with legitimacy by format

this glistening surface breaks down functionality of the ‘operational self,’ all mirrors etched, promotes and normalizes quite engendered; polycule’s cruel oscillation constricts citationally across social practice MFA, the cohort resident gaze annealing concordance

in them all lie emails

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