the silence we've become | acrylic ink on canvas | 30cm X 25cm | 2017
Paper thin walls
| Paul Hallahan - August 16th - September 2nd
Paper thin walls takes its starting point from the domestic living space of renowned minimalist artist Donald Judd in his cast-iron building on Spring Street in New York. Using this as a framing structure for the exhibition, large canvas works will be shown alongside smaller canvas and paper based works.
Centre to the exhibition is a work made up of 900 watercolour on paper paintings stacked in three blocks. The work titled Aimlessly Pretty is presented on a platform based on the first piece of furniture constructed by Judd, his very own bed. The bed is chosen for the exhibition as it is both the first piece of furniture made by Judd and also one of the most personal he could have made for himself and his family. Judd had issues with how his sculptural and furniture objects lived together in the world and in much of his sculptural work he attempted to remove nature and its forms from it entirely, yet with the constructing of a bed he made one of the most intimate and natural pieces of furniture people use daily but within a boundary of non natural forms, straight lines and hard corners.
Hallahan's work Aimlessly Pretty is presented on a remake of the Judd bed, the work was made as an ever changing sculptural work in the form of three blocks of paper very similar to the forms Judd's sculptural work took. Aimlessly Pretty allows you see the entirety of its scale but only allows for one option of its organisation to be seen at one time, the three paintings on top of the stacks. The use of watercolour paint is chosen as a delicate form of painting that can also in great numbers present weight and solidity. Positioned at the heart of the exhibition Aimlessly Pretty is encircled by the other works in the exhibition. (2017)
paulhallahan.com/exhibitions
| Paul Hallahan - August 16th - September 2nd
Paper thin walls takes its starting point from the domestic living space of renowned minimalist artist Donald Judd in his cast-iron building on Spring Street in New York. Using this as a framing structure for the exhibition, large canvas works will be shown alongside smaller canvas and paper based works.
Centre to the exhibition is a work made up of 900 watercolour on paper paintings stacked in three blocks. The work titled Aimlessly Pretty is presented on a platform based on the first piece of furniture constructed by Judd, his very own bed. The bed is chosen for the exhibition as it is both the first piece of furniture made by Judd and also one of the most personal he could have made for himself and his family. Judd had issues with how his sculptural and furniture objects lived together in the world and in much of his sculptural work he attempted to remove nature and its forms from it entirely, yet with the constructing of a bed he made one of the most intimate and natural pieces of furniture people use daily but within a boundary of non natural forms, straight lines and hard corners.
Hallahan's work Aimlessly Pretty is presented on a remake of the Judd bed, the work was made as an ever changing sculptural work in the form of three blocks of paper very similar to the forms Judd's sculptural work took. Aimlessly Pretty allows you see the entirety of its scale but only allows for one option of its organisation to be seen at one time, the three paintings on top of the stacks. The use of watercolour paint is chosen as a delicate form of painting that can also in great numbers present weight and solidity. Positioned at the heart of the exhibition Aimlessly Pretty is encircled by the other works in the exhibition. (2017)
paulhallahan.com/exhibitions
