welcome to our
SATURDAY EVENING POST
March 30th, 2024
This is the final week to view “Thom Mayne: Constructing the Spontaneous", this exhibition ends next Saturday, April 6th.
ABOVE IMAGES:
Copper and black work: THOM MAYNE, XCD_230308-181249_143-C, 2023, UV ink and copper leaf on wood panel, 24 x 24 in. (61 x 61 cm)
Installation view
Installation view of XCD_20230509-191925_00-72
Red work: THOM MAYNE, XCD_20230509-191925_00-72, 2023, UV ink on aluminum, 72 x 72 in. (182.88 x 182.88 cm)
Installation view
Black work: THOM MAYBE, XCD_20220606-183244_222-S, 2023, UV ink and silver leaf on wood panel, 24 x 24 in. (61 x 61 cm)
“Constructing the Spontaneous” delves deep into the synergy between cutting-edge technology and expressive humanism. This exhibition brings to light Thom Mayne's adventurous integration of technology with artistic expression, revealing a series deeply rooted in the significant relationship between intention and chance. Each artwork emerges from a complex generative process, evolving into refined compositions selected by Mayne for their combination of colour, form, and an essence of humanity, realised through an advanced UV printing process that ensures the uniqueness of each piece. The exhibition invites our audiences to immerse themselves in a narrative of creation that stretches beyond the realm of painting, sculpting and any conventional means of art making, offering insights into Mayne's creative process and the philosophical foundation of his work.
The tactile experience of the exhibition, emphasised by the industrial nature of the UV printed works, invites audience interaction, lowering the engagement barrier and fostering a broad, intimate connection with the art that is unconventional and courageous. This, coupled with the cross-disciplinary and international dialogue that Mayne's work initiates — being a distinguished architect venturing into the art scene outside his usual sphere, highlights the unique intersection of architecture and art that Mayne occupies. His contributions enrich the cultural landscape and bridge diverse fields, fostering a global perspective on contemporary design and art.
ABOVE IMAGES:
Red and yellow work: THOM MAYNE, XCD_230810-140723_00-3, Triptych, 2023, UV ink on aluminum, 72 x 108 in. (182.88 x 274.32 cm)
Installation views
Green, red, and white work: THOM MAYNE, XCD_20230223-012341_01-48, 2023, UV ink on aluminum, 48 x 48 in. (121.9 x 121.9 cm)
Installation view
Green diptych: THOM MAYNE, XCD_230810-113550_302357359, 2023, UV ink on aluminum, 72 x 96 in. (182.88 x 243.84 cm)
Red works: THOM MAYNE, XCD_231204-205441_1115-RY and XCD_231204-144403_387398-RY, 2023, UV ink on aluminum, 24 x 24 in. (61 x 61 cm)
Installation view
Rust brown and black work: THOM MAYNE, XCD_20230315-204129_132-R, 2023, UV ink and rust pigment on wood panel, 24 x 24 in. (61 x 61 cm)
Thom Mayne speaking to audience
Installation view
We would like to mark the passing of visionary sculptor, Richard Serra (1938-2024).
Since the 1960’s, Serra explored outside the traditional materials of sculpture, creating works from industrial materials including vulcanized rubber, neon, fiberglass, and lead. His work, Verb List (1967), laid the foundations for the composition and construction of his works as well as an action set for his practice. To Lift (1967), Splashing (1968), and Casting (1969) explored the use of these transitive verbs to affect materials on their sculptural manifestation. From humble beginnings, Serra’s works evolved into large scale, iconic installations that cut swathes through urban and rural landscapes alike, exploring the relationship between the viewer, work, and the site, often disrupting the expectations of those whose lives they interjected upon. Often polarizing but always authentic, Serra said that “we evaluate artists by how much they are able to rid themselves of convention, to change history.” By his own measures, he lived a life well spent.
ABOVE IMAGES OF WORKS BY RICHARD SERRA:
Interior view of Fulcrum, Fulcrum, To Lift, View Point, Intersection II
Comments