Erika Verzutti – Man Ray com Peixe / Man Ray with Fish, 2019, Bronze, cast aluminium and oil, 70 x 57 x 10 cm, Unique work in a series of 3, © Erika Verzutti. Photo: Eduardo Ortega. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro.
The short-lived publication Documents (1929 – 1930) – edited by Georges Bataille – exemplified a shift in much visual art in the early 20th century towards drawing from and combining influences from wildly differing sources both within and far beyond the arts. It is a tendency towards a heterogeneous aesthetic which has become so ubiquitous that nowadays it informs first principles in most art schools from foundation level on. And whilst it lends an air of research facility to the average artist’s studio, it can also, through the collision of dissonant sources, muddy the task of judging the quality of the artwork produced.
In such an open field as the visual arts have become, one difficulty is to consolidate disparate elements skilfully. Erika Verzutti produces painted bronze and papier-mâché wall-mounted reliefs which stretch the territory between painting and sculpture. The surfaces might be pummelled and gouged playfully, then cast in bronze, then painted irreverently in common acrylic. The artist’s process spins 360 degrees from kitchen table craft through industrial fabrication and back without pitting the base and the exalted medium against one another. In Verzutti’s work there is humour but not the ham-fisted variety, allusion without explication, and beauty both superficial and profound.
Carne Sintética @ Fortes D’Aloia & Gabriel
Two previous articles on Erika Verzutti on theglazelondon:
Erika Verzutti @ Andrew Krepps
Erika Verzutti @ Alison Jacques
Yann Gerstberger / Sex Messenger, 2018, 280 cm x 250 cm, 110,2 inches x 98,4 inches, Coton, linoleum, colle néoprène, pigments naturels (grana cochenille) photo Hugard & Vanoverschelde. Courtesy Sorry we’re Closed Gallery
The word painterly often gets thrown around without thought for the scope of its significance. When applied to the weave of a tapestry or an area of glaze on a ceramic pot, its very use implies the primacy of painting above crafts. One irony however, is that the thing which is considered painterly in painting is that moment when its very nature as a material – pigment suspended in a medium – is most evident. In that moment, I feel we are in fact appreciating painting as craft. So, it should seem strange for an observer to lend the term to other art forms when in truth, a painting is sometimes most painterly when it reminds us of other media.
In Yann Gerstberger’s large scale tapestries, the heft of the weave and the complexity of fantastical, crude, exotic motifs as they seem about to bleed into each other, may well bring to mind a heavily-worked painted surface. The exaggerated flatness of tapestry weave – in Gerstberger’s case market sourced fabrics and hand-dyed mop-head strands glued to a vinyl surface – is enhanced by the tightly-packed and carefully balanced imagery, the arrangement of which leaves not a single area of visual slackness.
Studio view – Image courtesy Sorry we’re Closed Gallery
Yann Gerstberger at Sorry We’re Closed Gallery
In The Studio is a series of occasional interviews with emerging artists talking about their studio processes and the things that motivate, frustrate and inspire them. For the second In The Studio I spoke to artist Sean Penlington about his work.
Continue reading “In The Studio #2 – Sean Penlington”