he/him
Ivo Makianich
The space and architecture depicted in the images of these works appear to be divorced from time, existing instead in a similar liminal twilight. Yet each subtractive mark subtly betrays this sense of timelessness; felt viscerally, each mark builds toward a montage of images that construct architecture. The process begins with an even layer of black paint applied to paper, then paint is gradually removed with a brush, slowly revealing the image beneath. Eventually, the process requires physical scarring of the paper through repetitive cuts, pulling out the whitest whites and highest values.
Each painting is created within a strict one-week timeframe. In a sense, looking at any of these works is akin to watching an accumulation of marks form into an image. However, rarely does each mark represent so succinctly the constraint of time. To walk through a parking garage, beach, bridge, or an industrial building is to experience time as a factor of space. That time exists in our memories of having passed through it, where it unfolds as single images of space, configured linearly in retrospect. Looking at one of these paintings is to witness the way time sees space.
Documentation Room, 2024.
Oil on mounted paper, 75 × 52 × 2 in.
Documentation Room (detail), 2024.
Oil on mounted paper, 75 × 52 × 2 in.
Bridge, 2024.
Oil on stretched paper, 80 × 32 × 2 in.
The Ramp, 2024.
Oil on paper, 48 × 96 in.
Dog Beach, 2023.
Charcoal on paper, 3 parts, 40 × 96 in., 36 × 82 in., 40 × 96 in.