In partnership with the Greenwich House, Irena Jurek and Diana Buckley are pleased to present the group exhibition, Finite Infinity from September 28 – October 29, 2012. Five New York based artists evoke perceptions of time through varied contexts. Lyotard describes a rumination of time that mirrors the idea of Finite Infinity in his essay, The Sublime and the Avante Garde when he writes how “optical pleasure when reduced to near nothingness promotes an infinite contemplation of infinity.”
Matt Jones’s improvised approach emits signals analogous to listening to a transcendental crescendo found in a Philip Glass score. His paintings pulsate, dilate, and mutate in a vast vortex, typifying the totality of the universe. Jones offers three works that not only depict space, but a colorless, staccato, rhythmic dance defining dimensions which tap into hypotheses of theoretical physics. The immediate is recognizable but his poignant approach allows the audience to access the inexpressible and unattainable nature of being.
Climbing the wall, organic, loose, and stretched form is a malleable structure with indistinct traits—a reflective undertaking Lasserre utilizes, deals with fragility and imperfection found in human existence. The artist describes, I create “things” – simultaneous metaphor and real – that function in a system of porous categories and unstable identities.
Osamu Kobayashi’s paintings consist of floating volumes fixated by subtle play. In other words, an enigmatic aesthetic inadvertently leads to double meanings, like an imbalanced scale where mass and substance come and go. Kobayashi’s style runs the gamut of artists who have come to see shape and form as philosophical. The paintings Wave, Sun and Cool Love weave together diverse dialog where a mastery of space adds margin to the shows’ aesthetic.
Korakrit Arunanondchai offers a glimpse through the keyhole at a glittering world, by means of a hypnotic palette, which enables dopamine to ignite in the sense that the effect is the artist’s goal. Arunanondchai’s work does not portray a ubiquitous allegory but an infinite space in which to daydream. By drawing attention to the tension between the real and the imagined, Arunanondchai manages to distance himself from the putative tradition of abstraction
Molly Lowe transforms the banal and everyday into psychologically riveting objects. Office Chair and Heineken Geode are constructed sculptures that are photographed, with an accompanying expiration date. These works remind us not only about paradoxes surrounding impermanence, but how bizarre, fascinating, as well as disturbing everyday existence can be, with death around the corner and discomfort in the present. With Lowe’s photographs, the sublime accesses the suspension of reason in the face of Finite Infinity.