In a way, I was glad I had missed the opening reception. Instead, I walked the gallery for an hour alone on a Monday afternoon. Stacy Rosende‘s solo exhibit subSURFACE speaks slowly and would likely rather wait patiently than shout over the din of a crowded art party. This reveals something about the work itself – there is a peculiar sort of temporality running through it.
Initially, some of Rosende’s new work is reminiscent of the paintings of Todd Chilton. However, the two artists tackle very different concerns. Unlike Chilton’s opaque painterly style, Rosende creates a sort of abstract foreground and background. Geometric patterns of color cover the panels. Underneath, an arrangement of decorative flourishes can be dimly seen at times and disappear completely elsewhere. This was inspired by a recent stay in Venice, Italy as the texture, patterns and layers of the city’s walls clearly influenced much of the work in subSURFACE. The play between foreground and background does add a sense of depth to Rosende’s paintings. However, a clear and strong sense of rhythm still dominates Rosende’s work. The paintings may have come from an interest in surface, but seem to be very much about rhythm.
Vertical lines of color, irregularly sized and multi-colored without a discernible pattern, suggest a complex beat and a certain musicality. Rosende doesn’t offer the eye a place to rest, instead forcing it to play through the composition, dancing over the colors left to right and back again. In her statement, Rosende draws comparisons between tones in music and color, waves of sound and light, and arrangements both musical and visual. Perhaps all of these comparisons are most easily discerned in Fertile.
At the center of the space, the sculpture occupies a significant amount of the gallery floor. Twenty-nine differently sized stone-like objects (they’re actually plaster mixed with natural materials) are arranged in a ‘V’ formation from largest to smallest. One side of each object is smooth and painted, the largest orange and gradually darkening with each piece down to the smallest painted black.
Fertile contrasts severely against the paintings and prints in the exhibit while offering a sort of respite. Unlike the paintings which produce a sort of visual syncopation, the size, color and arrangement in Fertile all work in accord to produce a specific rhythm, a particular movement. The piece draws your eyes front to back to front. The movement is almost sexual. The work’s title coupled with the movement suggest the womb, birth, or even the ascension and descent explored in the Cremaster Cyle of Matthew Barney.
Though I may be swayed by my particular gallery visit, what may be most valuable about this show is its slower pace. Conceptual one-liners, needlessly showy and large work, parties badly disguised as art exhibits: each often coddle and cater to a critical laziness. Rosende’s solo exhibit doesn’t do this. Instead, the show makes apparent that it’ll take time. If you are to honestly like or dislike the work, it’ll be after spending some time with it. Ultimately, it may be this sort of “time signature” that is key to taking art seriously again.