Thursday, December 19, 2019

Oliver Osborne at Peles Empire (Matte Representation)

The new school of Matte Representation, scumbled opaque facades:  
Clockwise from top left: Oliver Osborne, Nolan Simon, Caleb Considine, Jennifer J. Lee

Paint like suede. Leather, rubbed, treated. The point is the [soft opaque] surface, a shallow pool both lets sight in and reflects us. A plane to project on. Have you touched a movie screen, they're like this. Silver, and we can theorize an internality, a subject inside, however privy we are not to it. A surface that warbles in little blots scumbled. What do you see, what do you project. It's a new type of formalism where content is created then made an aside, rejected, cancelled by the imbroglio of meaning. A representation that is tampered, we stare at.

"This sense of content being astray has to do also with the process’ vying for significance."

Call the exhibition Clue. The puzzles of today's painting in which their individuated flat symbols present a real mystery of a subject. Looking like de Chirico designed a board game. Soviet Realism for the icon age, new devotional painting. Colonel Rublev in the museum with a candlestick.

In our time textures are of utmost importance in creating realistic digital worlds. Objects are surface to be texture-mapped, painted, [artist]'s micro-attention to the variants of matte diffuse surface (something digital rendering has difficulty with) and scattered specular speaks to the digital by deploying what it cannot. Artisanal Old-timey rendering, wrapping its cold surface in warm wool.