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Jessica Dickinson for Frieze 2010
Dickinson’s paintings are temporally and materially invested objects, whose continual additive and subtractive procedures of layering, notching, scraping, and re-ordering of their fresco-like surfaces create migratory light, color, and form. The subtlety of Dickinson’s paintings explore the breakdown of binary structures that partition inside from outside, subject from object, and suspension from closure. Here, form is given over to an unstable visual matrix that explores shifting perception and indeterminate spaces of psychology.
These paintings in particular were conceived in light of the play and resonance between them, creating the possibility for a slowed down field for experience within the larger texture of the fair. Central to this body of work is the idea of limits and thresholds, suggesting zones of passages, beginnings, openings, and fluctuating intensities.
The series of monoprints that accompany the exhibition, which Dickinson calls “traces”, are a group of works on paper that were made through gathering impressions from the paintings while they were in progress. These indexes are a way to map the potentials—stages, ideas, poetics—that surface and are then subsumed in the development of the paintings, and to assert momentary flashes of visibility within the dense aggregation of time in the paintings.
Jessica Dickinson for Frieze 2010
Dickinson’s paintings are temporally and materially invested objects, whose continual additive and subtractive procedures of layering, notching, scraping, and re-ordering of their fresco-like surfaces create migratory light, color, and form. The subtlety of Dickinson’s paintings explore the breakdown of binary structures that partition inside from outside, subject from object, and suspension from closure. Here, form is given over to an unstable visual matrix that explores shifting perception and indeterminate spaces of psychology.
These paintings in particular were conceived in light of the play and resonance between them, creating the possibility for a slowed down field for experience within the larger texture of the fair. Central to this body of work is the idea of limits and thresholds, suggesting zones of passages, beginnings, openings, and fluctuating intensities.
The series of monoprints that accompany the exhibition, which Dickinson calls “traces”, are a group of works on paper that were made through gathering impressions from the paintings while they were in progress. These indexes are a way to map the potentials—stages, ideas, poetics—that surface and are then subsumed in the development of the paintings, and to assert momentary flashes of visibility within the dense aggregation of time in the paintings.