With Color
12.26 is pleased to present With Color, a three-person exhibition at the gallery鈥檚 Dallas location. The exhibition features new works by Marlon Kroll and Carrie Rudd alongside a historical watercolor from 1973 by Stanton Macdonald-Wright.
With Color generally speaks to the shared formal qualities of color, form, and movement within the abstract works of Kroll, Rudd, and Macdonald-Wright. Conceptually, the exhibition meditates on the significance of communication, history, and spirituality. The paintings鈥� complementary chromes, organic, inorganic shapes, and askew compositions tie them together in the reverie of an established abstract practice. There is a resurgence of abstraction, and upholding the aged tradition is essential for Kroll and Rudd.
The living artists are honored to present alongside Macdonald-Wright, co-founder of the Synchromism movement and a foundational figure in American abstraction. His spirit echoes off the canvas and ruminates within the gallery. Kroll and Rudd鈥檚 paintings are spiritual conduits, communing with Stanton on a plane of existence outside our view or perception.
The Synchromism movement of the early 1910s and 20s encouraged artists to use color that resonated with sound or music. Kroll and Rudd acknowledge the quiet and rooted synchronic connections their work harks back to, but perceive their variations in a more idiosyncratic and personal light.
Rudd鈥檚 Synchronized Tupperware Topping represents two effects. First, the diptych reflects the nature of collaboration between Kroll and Rudd. Second, the title alludes to an idea that originated in Rudd鈥檚 mind while rummaging through a Tupperware-filled cupboard. What would it look like if Tupperware stacking were an Olympic sport? The painting answers that question and validates the essence of abstraction through joyful play.
As Kroll puts it himself, abstract painters are in the business of invention. They manifest thought and translate it into a visual language or wordless philosophy. The polymorphous abilities of abstraction are what imbue it with value. For Kroll, the power of objects, and in this case paintings, is that they elicit a sort of sympathetic magic, associating their corporeal selves with nonmaterial ideas.
Color varies depending on who you ask. Rudd uses color as a code, operating as an organizational principle, and encouraging the development of a composition. Her paintings show what thinking feels like. Each color is assigned a potential idea, and through the act of discovery, these colors find relationships with one another.
On the other hand, Kroll is task-oriented, seeking out a balance of color while symbolically presenting a spectral body or building. In one of his works featuring an architectural yellow structure, the words 鈥渃ompetition,鈥� 鈥渁ccommodation,鈥� 鈥渃ollaboration,鈥� and 鈥渁voidance鈥� float under the hazy, bluish surface. Perhaps these hidden messages point to Kroll鈥檚 identification in the exhibition process. A cacophony of labels, a whirl of marks, and a sound structure reference the artist鈥檚 active efforts to engage in an unspoken dialogue with Rudd and Macdonald-Wright.
Recommended for you
12.26 is pleased to present With Color, a three-person exhibition at the gallery鈥檚 Dallas location. The exhibition features new works by Marlon Kroll and Carrie Rudd alongside a historical watercolor from 1973 by Stanton Macdonald-Wright.
With Color generally speaks to the shared formal qualities of color, form, and movement within the abstract works of Kroll, Rudd, and Macdonald-Wright. Conceptually, the exhibition meditates on the significance of communication, history, and spirituality. The paintings鈥� complementary chromes, organic, inorganic shapes, and askew compositions tie them together in the reverie of an established abstract practice. There is a resurgence of abstraction, and upholding the aged tradition is essential for Kroll and Rudd.
The living artists are honored to present alongside Macdonald-Wright, co-founder of the Synchromism movement and a foundational figure in American abstraction. His spirit echoes off the canvas and ruminates within the gallery. Kroll and Rudd鈥檚 paintings are spiritual conduits, communing with Stanton on a plane of existence outside our view or perception.
The Synchromism movement of the early 1910s and 20s encouraged artists to use color that resonated with sound or music. Kroll and Rudd acknowledge the quiet and rooted synchronic connections their work harks back to, but perceive their variations in a more idiosyncratic and personal light.
Rudd鈥檚 Synchronized Tupperware Topping represents two effects. First, the diptych reflects the nature of collaboration between Kroll and Rudd. Second, the title alludes to an idea that originated in Rudd鈥檚 mind while rummaging through a Tupperware-filled cupboard. What would it look like if Tupperware stacking were an Olympic sport? The painting answers that question and validates the essence of abstraction through joyful play.
As Kroll puts it himself, abstract painters are in the business of invention. They manifest thought and translate it into a visual language or wordless philosophy. The polymorphous abilities of abstraction are what imbue it with value. For Kroll, the power of objects, and in this case paintings, is that they elicit a sort of sympathetic magic, associating their corporeal selves with nonmaterial ideas.
Color varies depending on who you ask. Rudd uses color as a code, operating as an organizational principle, and encouraging the development of a composition. Her paintings show what thinking feels like. Each color is assigned a potential idea, and through the act of discovery, these colors find relationships with one another.
On the other hand, Kroll is task-oriented, seeking out a balance of color while symbolically presenting a spectral body or building. In one of his works featuring an architectural yellow structure, the words 鈥渃ompetition,鈥� 鈥渁ccommodation,鈥� 鈥渃ollaboration,鈥� and 鈥渁voidance鈥� float under the hazy, bluish surface. Perhaps these hidden messages point to Kroll鈥檚 identification in the exhibition process. A cacophony of labels, a whirl of marks, and a sound structure reference the artist鈥檚 active efforts to engage in an unspoken dialogue with Rudd and Macdonald-Wright.
Artists on show
