David Salle Click for English text Galleri Faurschou åbner det nye år med helt nye værker af den amerikanske maler David Salle, der siden 1980'erne internationalt har været kendt for sine store figurative billeder, som eklektisk sammenstiller forskellige billedfragmenter og objekter. Med citater fra kunsthistorien, reklamer, film, erotica, tegneserier, eller Salles egne sort-hvide fotografier, skaber han komplekse, collagelignende kompositioner. Det kan synes overvældende, hvis ikke det var for den rytme eller struktur, som styrer de tilsyneladende tilfældigt sammensatte billedbetydninger. Det kan være figurer eller objekter, der går igen, det kan være gennem styrende greb som firkantede indramninger af motiver, eller ved at sætte flere lærreder sammen. I de nye billeder arbejder Salle med perspektivet. I flere af værkerne er motivet presset sammen, eller trukket ud, som i et spejlkabinet, eller ligefrem hvirvlet rundt i en centrifugal hvirvel. En kvindefigur malet i sort-hvide nuancer er sat sammen med en stærktfarvet manga-figur, som synes kastet ind i en turbine, for hele tegningen er vredet ind mod hvirvlens midte, hvor beskuerens blik også trækkes hen. Salle har malet disse "Vortex-paintings" de senere år og de tager udgangspunkt i en kvindefigur, enten fra hans tidligere malerier og fotografier - eller som her fra en manga-tegneserie. Måske inspirationen er kommet fra hans barndoms opvækst i det flade amerikanske landskab i Kansas, som ofte rammes af tornadoer, i hvert fald hvirvles alt i billedfladen med rundt, som i en psykedelisk udvidelse af bevidstheden - eller som et forsøg på at illustrere den måde vores bevidsthed strukturerer hverdagens malstrøm af informationer. Salles billeder er lige til at aflæse og samtidig slet ikke til at forstå. I et næsten barokt billedplan svæver flyvemaskiner, konkylier, en hat, en tom kvindebluse eller en porcelæns-kop rundt i billederne som i en gestus til både dadaisme (Man Ray), surrealisme (Magritte), men også popkunst (James Rosenquist), hvor tilfældige møder af objekter fra forskellige og uforudsete sammenhænge skaber uforudsete reaktioner. For David Salle er det denne sammenkædning af ting, der skaber poesien, og billedets syntaks er hos Salle ofte ligeså struktureret som et vers. I sine tidlige værker var det gerne andres billeder han inddrog i sine lærreder, nu er hans maleri i højere grad båret af hans egen personlige ikonografi. Salle er ofte blevet rost for sin tekniske ekvilibrisme - men en anden vigtig og måske lidt overset kvalitet ved Salles malerier er ikke mindst hans farveholdning, som er lige så gennemarbejdet og lige så vigtig en del af billederne som figurationen. Exhibition: 10.1. - 29.3.2008 Gallery hours: Tues-Fri 11am - 5pm, Sat 11am - 2 pm Galleri Faurschou St. Strandstræde 21 DK-1255 København K. Telephone +45 33 91 41 31 Fax +45 33 91 11 86 Email gallery@faurschou.com www.faurschou.com David Salle Galleri Faurschou opens in the New Year with new works by the American painter David Salle, who broke through internationally in the 1980's with his large figurative works, eclectically juxtaposing various image fragments and objects. Quoting art history, advertising, films, erotica, comics and his own black and white photographs Salle creates complex, collage-like compositions. The compositions might appear overwhelming if not for the rhythm and structure underlying the seemingly random combined imagery. These may be motives or objects reappearing, the framing of figures, or the joining of canvases. In his new works, Salle works with perspective. In several of these works the motives have been compressed or elongated, similar to the effect of a mirrored cabinet. In other works the motives are whirled around as in a centrifuge. A female figure painted in black and white is juxtaposed with a brightly coloured Manga character, seemingly thrown into a turbine, as the character is wrought towards the centre of the whirl whereto the viewers gaze is drawn. Salle has painted these "Vortex-paintings" over the past years. They take their starting point in the female figure, either derived from his previous paintings and photographs or as in this case from a Manga comic. Perhaps the inspiration comes from his childhood upbringing in the flat American landscape of Kansas, often impacted by tornadoes. Nonetheless everything in the picture surface is whirled around as in a psycadelic expansion of our conscience - or as an experiment trying to illustrate the way our conscience processes the everyday maelstrom of information. Salle's paintings are at once both easily decodable and difficult to read. In a baroque imagery aeroplanes, shells, a hat, an empty blouse or a porcelain cup float, as a gesture to both Dadaism (Man Ray), Surrealism (Magritte), and also Pop Art (James Rosenquist) where random meetings of objects of differing and unpredictable relations create unpredictable reactions. For David Salle is exactly this conscious connecting of things that makes the poetry of the paintings and thus his works' syntax, is often as structured as that of a verse. In his earlier works it was often imagery borrowed from somewhere that he placed into his works, now Salle's paintings seem more carried by his own personal iconography. Salle is often praised for his equilibrist technique - yet another important and perhaps slightly overlooked quality with Salle's paintings' is his colouration, exactly as thoroughly worked through and as important a part of the paintings as his figuration. Exhibition: 10 January - 29 March 2008 Gallery hours: Tues-Fri 11am - 5pm, Sat 11am - 2 pm |
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