Ben Echeverria at Galerie Parisa Kind, Frankfurt
In A Comedy of Errors, Shakespeare has a clock strike one, twice, lost hours coming back to where they were. Here, another ticks only backwards, its hands interminably clicking past paintings with stuttering lines, small quakes and mortal registrations of contingent adjustments. These materialize in seams and folds, tacking margins and indices of where staples once tethered fabric to the studio wall or bends from where stretchers once applied pressure. Then there is debris imprinted in color that is also surface, pictorializing circumstances of genesis, which are always-already as aesthetic as marks arrived at by brush. Pools of paint hold together would-be remnants of now penultimate compositions sliced for the present occasion; they exist in something like the solidarity of intentional adjacency. Amidst a durational and necessarily unfinished process of making, this present interval affords retrospection.
Ben Echeverria’s paintings contain and exhibit the residue of their making. Developed over significant periods of time, the paintings feel as if they could be both found and made. Imprints of the traditionally hidden elements of painting, such as hardware and other mechanisms that physically support it have aesthetic agency. Oil paint is used not only to compose and depict visual information, but also to literally hold the paintings together. The artist is interested in emphasizing and exploring the three-dimensional qualities of painting and from this perspective emerge methods of installation that engage the environment in which the work is situated.
At Galerie Parisa Kind, Frankfurt
until 16 October 2019