Eduardo Berliner: The Shape of the Remains
Casa Tri芒ngulo is pleased to present The Shape of the Remains, Eduardo Berliner鈥檚 third solo exhibition at the gallery. The show brings together oil paintings on different supports (canvas and wood), as well as two groups of drawings. One of these groups consists in a set of ten notebooks made during the past year, the pages of each will be turned weekly during the exhibition period.
For Eduardo Berliner, the quality of the surface of wood has warranted its use as a support in recent years. According to the artist, because it is smoother than canvas, it decreases the friction of the brushstroke, allowing for faster and more fluid lines and the creation of a hybrid space between drawing and painting. It is important to note that some of these works received additional sheets of plywood during the process, thus emphasizing their speculative aspect.
Berliner works in an essentially introspective way: 鈥淕enerally, the imagetic repertoire derives from the accumulation of records made on a daily basis over the course of years in my notebooks reconfigured by contact with the process of painting. They are notations of a distinct nature that fluctuate between the observation of my surroundings, information absorbed in a conscious and unconscious way, and a mapping of intimate questions with a strong psychological charge.鈥�
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Casa Tri芒ngulo is pleased to present The Shape of the Remains, Eduardo Berliner鈥檚 third solo exhibition at the gallery. The show brings together oil paintings on different supports (canvas and wood), as well as two groups of drawings. One of these groups consists in a set of ten notebooks made during the past year, the pages of each will be turned weekly during the exhibition period.
For Eduardo Berliner, the quality of the surface of wood has warranted its use as a support in recent years. According to the artist, because it is smoother than canvas, it decreases the friction of the brushstroke, allowing for faster and more fluid lines and the creation of a hybrid space between drawing and painting. It is important to note that some of these works received additional sheets of plywood during the process, thus emphasizing their speculative aspect.
Berliner works in an essentially introspective way: 鈥淕enerally, the imagetic repertoire derives from the accumulation of records made on a daily basis over the course of years in my notebooks reconfigured by contact with the process of painting. They are notations of a distinct nature that fluctuate between the observation of my surroundings, information absorbed in a conscious and unconscious way, and a mapping of intimate questions with a strong psychological charge.鈥�
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