Marc Horowitz: Diagrams for Living
No Gallery is pleased to present Diagrams for Living, an exhibition of paintings, collages, and video work from Marc Horowitz. The first room of the gallery is occupied by new paintings completed in Los Angeles during quarantine. The second room hosts collage works on paper and collage-like video culled from the artist鈥檚 vast archive of personal footage gathered throughout pre-pandemic travels.
Horowitz鈥檚 sprawling practice reflects his fidelity to both the artist鈥檚 call to exploration and the comedian鈥檚 embrace of failure. He packs his joke bag with the painterly gestures of Modernism, gussied up in the bold colorways of Pop and commercialism, then throws in a rubber chicken or some chattering teeth, for luck. Optimism is the chaotic element that suspends his pictures somewhere between silliness and gravitas, creating complex psychological events that aren鈥檛 a total bummer to look at. The optical push-pull of his canvases create a tension that every so often gives way to little rest stops for the eye鈥攁 sturdy swipe of black has the groundedness of a shadow, green lines cohere into the image of a leafy stem, and somewhere off to the side, there is place to sit. His maelstroms of color are fueled less by impersonal forces like weather than by things like the radial energy of a firework, the velocity of silly string as it bursts forth from the can. The action of the paintings float in the middle of the picture plane like a cloud that emerges from two cartoons fighting鈥攐nly here the row is between reason and doubt, chance versus strategy.
The video, titled level set deep dive circle back, is an enigmatic stroll through the periphery of Horowitz's visual landscape, stitching together bits of moving images to bring forth their formal qualities. It鈥檚 a reverse process from the paintings, which allow images to emerge from gestures.
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No Gallery is pleased to present Diagrams for Living, an exhibition of paintings, collages, and video work from Marc Horowitz. The first room of the gallery is occupied by new paintings completed in Los Angeles during quarantine. The second room hosts collage works on paper and collage-like video culled from the artist鈥檚 vast archive of personal footage gathered throughout pre-pandemic travels.
Horowitz鈥檚 sprawling practice reflects his fidelity to both the artist鈥檚 call to exploration and the comedian鈥檚 embrace of failure. He packs his joke bag with the painterly gestures of Modernism, gussied up in the bold colorways of Pop and commercialism, then throws in a rubber chicken or some chattering teeth, for luck. Optimism is the chaotic element that suspends his pictures somewhere between silliness and gravitas, creating complex psychological events that aren鈥檛 a total bummer to look at. The optical push-pull of his canvases create a tension that every so often gives way to little rest stops for the eye鈥攁 sturdy swipe of black has the groundedness of a shadow, green lines cohere into the image of a leafy stem, and somewhere off to the side, there is place to sit. His maelstroms of color are fueled less by impersonal forces like weather than by things like the radial energy of a firework, the velocity of silly string as it bursts forth from the can. The action of the paintings float in the middle of the picture plane like a cloud that emerges from two cartoons fighting鈥攐nly here the row is between reason and doubt, chance versus strategy.
The video, titled level set deep dive circle back, is an enigmatic stroll through the periphery of Horowitz's visual landscape, stitching together bits of moving images to bring forth their formal qualities. It鈥檚 a reverse process from the paintings, which allow images to emerge from gestures.
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