Brian Calvin and Wendy White

Copyright 2016 © ARMELLIN F.

Until 24th June, Cabinet hosts the double personal show of Brian Calvin and Wendy White, where are compared two different operative approaches and the current culture of the selfies and the one of skate and surf of the Eighties. The artists develop, through their characteristic modus operandi, a common condensation to its fundamental principles of the visual language, that lose its communicative component and is broken down into the immediacy of the referent. Despite the different approaches, at the bottom of the exhibition there is a common interest to the Aby Warburg’s detail, meant by Daniel Arasse as the revealing key of the artwork and the essential premise to its interpretation.

As could be seen in the frame titled Over the shoulders, Brian Calvin develops flat non-narrative close ups of androgynous figures which are placed in the canvas using well defined geometric rules built in accordance to the golden mean principle that are a critique of the shallowness of the selfie’s culture. The attention of the artist is focused on the physiognomy of the mouth and the eyes, which are elements that seems to reveal closing behavior against the visitor. It can be noticed in Hmm, where a girl lost in her thoughts might seems to receive him absent-minded, as if she would be at the same time astonished and annoyed by his arrival in the gallery. Moreover, in the extreme close up in front of this canvas, Dubber, Brian Calvin puts an accent on the semi-open mouth, of which he highlights the flat sensually parted glossed lips revealing the gap between the teeth.

Wendy White makes a reduction of the Californian beach culture language of the Eighties with an iconographic lexicon built with graphic stenciled “crying” clouds, pixeled hearts and rainbows. This element is an emblem of the so-called California dream and conveys to the adolescence of the artist and to the general optimism characteristic of the Eighties. The graphic sign of the rainbow seems to enclose the viewer and creates a circular movement that starts with Cloud with Rainbow and, passing through Corner Rainbow, conveys his gaze to No Pressure. The sculpture is hung on the central section of the gallery space through a rainbow webbing and a rope made in nylon, which are elements that recall Santa Cruz and, at the same time, are a sort of tongue-in-cheek of the rules of modern painting.

The abstract and figurative pictorial frames of Brian Calvin and the sculptural paintings of Wendy White interact together and with the space, arousing lean in and lean out movements in the viewer, that are unique gestures of attraction and repulsion which are not forced into an itinerary already fixed. A specific may be paid to the artworks in which Wendy White investigates the boundaries between painting, sculpture and installation made with Dibond, a reflecting material that is used mainly for digital prints that turns on a complex visual dynamic with the artworks exhibited and with the ambient. These artworks enlarge the vision and create original connections, rekindling either the play of cross-references between the artworks in the gallery and the opening to the outside. In fact, the attention of the viewer is caught by the large Pixel Heart suspended at the ceiling where there is the glass window even before to get into the space. Moving closely, a smaller White Pixel Heart hung on the wall reveals itself.

Brian Calvin
Wendy White
A cura di Maria Chiara Valacchi
22 Aprile – 24 Giugno 2017
Sito: http://www.spaziocabinet.com

Copyright 2016 © ARMELLIN F.

Brian Calvin, Wendy White, Installation view, 2017, Cabinet, Milan – Courtesy Artists and Cabinet, Milan – Photo Filippo Armellin

Copyright 2016 © ARMELLIN F.

Brian Calvin, Wendy White, Installation view, 2017, Cabinet, Milan – Courtesy Artists and Cabinet, Milan – Photo Filippo Armellin

Copyright 2016 © ARMELLIN F.

Brian Calvin, Wendy White, Installation view, 2017, Cabinet, Milan – Courtesy Artists and Cabinet, Milan – Photo Filippo Armellin

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Sara Tassan Solet

Laureata in Archeologia e Storia dell’Arte all’Università Cattolica del Sacro Cuore. Si avvicina al mondo delle gallerie milanesi durante gli studi, ed esplora con sguardo curioso questo mondo dinamico cercando un inedito punto di vista.

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