Nau mai, haere mai, welcome to EyeContact. You are invited to respond to reviews and contribute to discussion by registering to participate.

JH

Image Fragmentation & Torture

AA
View Discussion
James Cousins' Resident, as installed at Gow Langsford. James Cousins' Resident, as installed at Gow Langsford. James Cousins' Resident, as installed at Gow Langsford. James Cousins' Resident, as installed at Gow Langsford. James Cousins' Resident, as installed at Gow Langsford. James Cousins' Resident, as installed at Gow Langsford. James Cousins' Resident, as installed at Gow Langsford. James Cousins, Untitled (pl 218), 2016, oil and acrylic on canvas, 1050 x 950 mm James Cousins, Untitled (pl 187), 2016, oil and acrylic on canvas, 1050 x 950 mm James Cousins, Untitled (pl 112), 2016, oil and acrylic on canvas, 1700 x 1500 mm James Cousins, Untitled (pl 14), 2016, oil and acrylic on canvas, 1700 x 1500 mm James Cousins, Untitled (pl 131), 2016, oil and acrylic on canvas, 1700 x 1500 mm James Cousins, Untitled (pl 291), 2016, oil and acrylic on canvas, 1700 x 1500 mm James Cousins, Untitled (pl 413),  2016, oil and acrylic on canvas, 1150 x 1000 mm

You get the sense that Cousins' imagery deliberately thwarts an easy 'iconic' take, that mixing and blending clashing forms is the purpose, that the colliding, bending and shimmering ‘fragmentation' of imagery is Cousins' desirable aim, that planar separation and clarity are counterproductive, and that this very process of denying the power of any one isolated single image - a sabotaging, wounding, morphological mash-up - makes exhilarating painting.

Auckland

 

James Cousins
Resident

 

3 August - 27 August 2016

James Cousins has had quite a bit of exposure over the last year, but for good reason. His work was quite easily the most consistently exciting contribution to Necessary Distraction and his large paintings the best gallery selection presented in the second half of the recent Auckland Art Fair.

This new Gow Langsford show presents seven smaller works. Most have the optical overload we expect from Cousins: works that are utterly impossible to photograph due to competing layers of intricacy via masking that only the naked eye can detect and the swirling moiré effects that result from digital photography when it’s faced with dense configurations of parallel lines.

Within the gallery space Cousins has installed what seems to be a peculiar hang, understandably eschewing regular spacing but embracing instead groups of two or four canvases, and so encouraging horizontal mental - not optical - interference between stretchers. Half the gallery walls are ignored. It is wilfully perverse.

Most of these works have a screened flowering bloom or cluster of leaves as a background base, and thin lines of sprayed on dribbling paint, often added after the complex tape formations have been removed. The work I find most fascinating is Untitled (pl 187) which is relatively ‘blank’ and pale in its centre, and where certain clumps of whitish wiggly lines light up at regular intervals. You are not sure whether this is directly because of Cousins’ skill with colour mixing or due to the afterimages he also provokes - some lingering retinal interference.

Around the edges of the rectangle are sprayed blobs and bursts of saturated colour that give the work a slightly sweet Olitski feel. It is less Polke-ry (with overlapping graphic transparent forms) than the rest of the show.

With these works you get the experience when standing back, of finding that the colours (all the colours) tend to be muddy and that the masking patterns are not so obviously detectable. Close up the complicated overlays are much more apparent, and colour juxtapositions purer and more sophisticated.

You get the sense that Cousins’ imagery deliberately thwarts an easy ‘iconic’ take, that mixing and blending clashing forms is the purpose, that the colliding, bending and shimmering ‘fragmentation’ of imagery is Cousins’ desirable aim, that planar separation and clarity are counterproductive, and that this very process of denying the power of any one isolated single image - a sabotaging, wounding, morphological mash-up - makes exhilarating painting.

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
John Stezaker, Blind (Film Portrait Collage) VIII, 2017, collage, 25.3 x 20.3 cm, courtesy of The Approach

Stezaker in Auckland

STARKWHITE

Auckland

 

John Stezaker
John Stezaker: Collages

 

9 October - 3 November 2018

JH
Shannon Te Ao, my life as a tunnel, 2018,  two-channel video with sound,  duration 9:48 min, cinematography: Iain Frengley,  installation view: Hopkinson Mossman, Auckland

Recent Te Ao Project

HOPKINSON MOSSMAN

Auckland

Shannon Te Ao
my life as a tunnel

 

8 September - 14 October 2018

JH
Installation of Vivian Lynn's 'Extricating Form 1969 - 1984', curated by Christina Barton, at Bowerbank Ninow, Auckland.

Vivian Lynn Works on Paper

BOWERBANK NINOW

Auckland

 

Vivian Lynn
Extricating form 1969 - 1984

 

12 September - 13 October, 2018

JH
Grant Stevens, The Waterfalls, 2016-18, archival ink on archival paper, ongoing series, each 825 x 550 mm

When Artifice Creates Nature

STARKWHITE

Auckland

 

Grant Stevens
The Mountain and the Waterfalls

 

1 September - 29 September 2018