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Pieter Vermeersch: (((())))
Perrotin is pleased to present a solo exhibition by Pieter Vermeersch, who returns to the New York gallery after five years. Often working in large-scale spatial interventions, he creates immersive environments that interact with the space he is exhibiting in. This new exhibition extends his ongoing exploration of materiality, time, space and color, incorporating gradient paintings on canvas, semi-precious stones, and silkscreen techniques.
Painting, both as it is made and as it is then later experienced fascinates Pieter Vermeersch: through an initial awareness in the on looker as aesthesis to its reception as painting. Today, painting can remain a powerful conveyer, it engages us with both our internal world in thought and emotion, and our external physical embodied experience of the world. It engages us in an exchange, a back and forth, between the object鈥攖he material support with its layer of applied paint鈥攁nd the on looker. The subject of painting is conveyed in Vermeersch鈥檚 work not as the simple received ideas of a tradition of visual language or the gestural expressions of subjectivity, but something new within what we recognize as painting. That we recognize this work as painting, however unfamiliar this painting may turn out to be, makes it an even more compelling experience.
The exhibition scenography is precise, actively inviting the onlooker to move through the galleries as a passage: the architecture of the space and the works inside it combine, folding together discrete works of different scales and contrasting materials.
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Perrotin is pleased to present a solo exhibition by Pieter Vermeersch, who returns to the New York gallery after five years. Often working in large-scale spatial interventions, he creates immersive environments that interact with the space he is exhibiting in. This new exhibition extends his ongoing exploration of materiality, time, space and color, incorporating gradient paintings on canvas, semi-precious stones, and silkscreen techniques.
Painting, both as it is made and as it is then later experienced fascinates Pieter Vermeersch: through an initial awareness in the on looker as aesthesis to its reception as painting. Today, painting can remain a powerful conveyer, it engages us with both our internal world in thought and emotion, and our external physical embodied experience of the world. It engages us in an exchange, a back and forth, between the object鈥攖he material support with its layer of applied paint鈥攁nd the on looker. The subject of painting is conveyed in Vermeersch鈥檚 work not as the simple received ideas of a tradition of visual language or the gestural expressions of subjectivity, but something new within what we recognize as painting. That we recognize this work as painting, however unfamiliar this painting may turn out to be, makes it an even more compelling experience.
The exhibition scenography is precise, actively inviting the onlooker to move through the galleries as a passage: the architecture of the space and the works inside it combine, folding together discrete works of different scales and contrasting materials.
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