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<\/a><\/figure>\n<\/div>\n\n\nRyan Sluggett, William Morris Tank, 2023, oil and gouache on organza over collage in Plexiglas frame<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nRyan Sluggett, William Morris Tank, Detail<\/p>\n\n\n\n
Even a detailed closeup photo cannot fully explain what this looks like! The paint is applied to organza, a type of gauze, and between the painted elements we can see through to collaged elements behind.<\/p>\n\n\n\n
Blain-Division Gallery presented several works by Nicolas Baier. Touches<\/em> is a silver glittering rectangle with a gridded surface. It scatters light like the white noise of a blank tv channel. As I walked up close, there was a jolt of recognition: these chromed shapes are actually keyboard keys.<\/p>\n\n\n Nicolas Baier, Touches,<\/em> 2023<\/p>\n\n\n Nicolas Baier, Touches,<\/em> 2023, detail<\/p>\n\n\n\n As an interesting aside, this piece made me realize that the space bar is always convex while all other keys are concave. They reflect differently.<\/p>\n\n\n\n Another work by Nicolas Bair, Lounge<\/em>, presents us with a colourful computer generated wireframe. There is a sense of an interior space, but it remains ambiguous. Trying to figure out the image I suddenly realized that the visible pixels in the image are not printed but woven. The image is rendered in wool!<\/p>\n\n\n Nicolas Baier, Lounge, 2022<\/p>\n\n\n Nicolas Baier, Lounge, 2022, Detail<\/p>\n\n\n\n Galerie Robertson Ar\u00e8s had a piece by Francois Ar\u00e8s. It\u2019s an abstract image on a glossy surface. I assumed it was a computer-generated work but up close I was surprised to find tiny hand painted dots. These are on a transparent surface and cast subtle shadows onto the surface behind which creates a shimmering effect as you move around.<\/p>\n\n\n Francois Ar\u00e8s, Without which, it would not exist, 2023<\/p>\n\n\n Francois Ar\u00e8s, Without which, it would not exist, 2023, Detail<\/p>\n\n\n\n At General Hardware Contemporary there\u2019s a piece by Joe Fleming on polycarbonate. It made me think of old masters\u2019 paintings that have been x-rayed to show the changes and revisions that led to the final image. In Fleming\u2019s case all the layers are visible at once. He uses both sides of the transparent surface, in some cases carving directly into it.<\/p>\n\n\n Joe Fleming, Steak, 2023, enamel, collage and polycarbonate<\/p>\n\n\n Joe Fleming, Steak, 2023, enamel, collage and polycarbonate, detail<\/p>\n\n\n\n Over at Monica Reyes Gallery, Andrew Kent has a dark piece in which you can glean the image of water waves that look photographic. Only on very close inspection did I realize that this is all handmade: graphite on paper.<\/p>\n\n\n Andrew Kent, Impossible Monsters, 2023<\/p>\n\n\n Andrew Kent, Impossible Monsters, 2023, Graphite on paper, detail<\/p>\n\n\n\n Myta Sayo Gallery presented a piece by Jill Paz. The image is of tropical vegetation in a rainbow of colours. I quickly recognized that the surface is made from corrugated cardboard. But the image is not printed or painted. As I looked closer, a filigree dot screen emerged. The image has been laser etched into the cardboard. In some parts the top layer has been completely burned away.<\/p>\n\n\n Jill Paz, Eventide, 2023<\/p>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n