Sep 5th 2014

Andrew Falkowski: Light/Industry/Coating

@ Paris London Hong Kong

845 W. Washington Blvd. 2R

Opening Friday, September 5th, from 5PM - 8PM

On view through Saturday, October 18th

Paris London Hong Kong is pleased to invite you to Light/Industry/Coating, an installation of new work by Andrew Falkowski. The exhibition opens with a reception for the artist on Friday, September 5th, from – 8 pm.

Light/Industry/Coating is the first in a periodic cycle of paintings that considers various material applications in a series of digressive permutations. They are responses to entanglements offered to various mediated and material platforms. Exploratory in nature, Falkowski’s painting cycle considers the title terms for their dialogic possibilities.

The paintings in Light/Industry/Coating are indebted to excel spreadsheets, skateboard graphics, running shoe displays, enrollment strategies, labor economies, big box DIY warehouses and materials found in various light/cottage industries. Thin, tablet sized grid paintings line the wall on a shallow shelf. The black color fields of the paintings blend into the black gallery wall, projecting various color differences in the field, or grid, forward. Attached to this series are two ’ x 7’ plexi-glass acrylic paintings. These larger paintings act in contradistinction to their smaller counterparts. While the smaller tablet sized paintings function primarily as objects, the high gloss surface of these larger pieces function experientially, mirroring, expanding and refracting the space as a whole.

Small square monochrome paintings act in material dialogue to the larger plexi-glass paintings. These transparent, color tinted acrylic glass monochromes have wood frames coated with milk paint, an ancient material once used for Egyptian hieroglyphics but now more associated with historic furniture restoration and ‘shabby chic’ DIY home improvement. Implied material opposition collapses as the Plexiglas, used for light industrial fabrication, finds counter-balance in the cottage/craft industry’s milk paint.

Finally, hyper-smooth, framed white panels are sprayed with transparent, saturated color. Shapeless and formless, the colors intermingle to construct bright tertiary colors, an indistinct response to the grid schema prevalent throughout the installation.

Subjective presence here is modeled as an editorial consideration, a simple digression of choice. Like a synecdoche—or a loop—Andrew Falkowski’s work in Light/Industry/Coating circles around the constructs that administer, rank and project subjective significance through various broad based databases that bind decontextualized horizons.

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