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Carrie Pollack, Witness

Minus Space
111 Front Street, Suite 226, 347-525-4628
January 13 - February 25, 2012
Reception: Friday, January 13, 6 - 8 PM
Web Site

MINUS SPACE is delighted to announce the exhibition Carrie Pollack: Witness. This is the Brooklyn-based artist’s first solo exhibition in New York and it will feature a suite of new paintings consisting of digital prints on linen.

Carrie Pollack describes her work as “a catalog of her memories”. In it she examines what we as individuals consciously or unconsciously choose to remember, and how our memories of people, places, and events degrade and change over time. Begun after the death of her father in 2009, Pollack’s new paintings are both poetic and existential, and they investigate the notions of permanence and impermanence, as well as uncertainty and contradiction. She deliberately intends her paintings to function “more as conversations than as statements”. Her imagery can often appear both familiar and unknown at the same time spanning both abstraction and representation.

The source materials of Pollack’s new paintings can be found in long meditative walks she takes daily with her dog around her Greenpoint, Brooklyn neighborhood. She carries her camera with her religiously, which she uses as a research tool to record the fleeting nature of her immediate environment. Each day Pollack takes dozens of photographs, which as of late have focused on deteriorating advertising posters, faded graffiti tags, vacant lots, worn textiles, and the fleeting quality of the sky, as well as other elements in transition and flux.

Pollack in turn organizes her photographs – now numbering in the thousands – into several distinct categories: posters, skies, newspapers, and textiles, among others. She spends weeks pouring over her images, intuitively arranging and rearranging them, looking for shared relationships between them. Once she identifies an image of essential interest, Pollack reduces it down to gray-scale in Photoshop, occasionally adjusting its contrast if needed to bring the image into a neutral state. She then prints upwards of one hundred test images with her large-format printer onto a wide array of supports, including newsprint, paper, canvas, and linen. The printing process is intentionally laden with glitches and hiccups, which she readily embraces. She remarks that the technology “adds its own interpretation of the image”, which reflects the way one’s mind continually tries to understand, interpret, and find meaning in the past, present, and future.

In the concluding steps of her process, Pollack prints a final image onto linen in a size that is unequal – sometimes larger, sometimes smaller – to the dimensions of the painting stretcher that will support it. As a result, the printed image often appears misaligned at first glance. Sometimes an image will wrap around the sides of the stretcher bars and onto the back the painting. Other times an image will be completely isolated within a much larger field of raw linen on the surface of the painting. These choices starkly contrast the digital quality of the image with the physical materiality of the painting itself, which directly parallels and exemplifies the complexity of memory.

Carrie Pollack (b. 1973) has exhibited her work throughout the United States, as well as in Germany and Belgium. Her work was recently included in the group exhibition Between This Light and That and Space curated by artist Douglas Melini at the gallery this past summer. Pollack has also recently exhibited at BRIC Rotunda Gallery, Monya Rowe Gallery, and David Krut Projects, all in New York. She has also produced editions with Daily Operation in New York and Sonnenzimmer in Chicago, IL.

Pollack has been awarded residencies at Yaddo, Jentel, Virginia Center for the Creative Arts, and Vermont Studio Center. Her work has been discussed in publications, such as Time Out New York, Metropulse, and The Daily Beacon. She holds an MFA from the University of Iowa, Iowa City, IA, and a BFA from Alfred University, Alfred, NY.
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