Paul Pagk: "Drawings from the Series: The Mesquite Drawings"
April 9, 2011 – May 29, 2011
Some Walls is pleased to present "Drawings from the Series: The Mequite Drawings" by New York artist Paul Pagk April 9, 2010 – May 29, 2010.
At Paul Pagk’s New York studio in September 2010 we spent a good amount of time looking at and talking about several large, complex, impressive paintings. It was a wonderful visit. Shortly before I left he began pulling out boxes, stacks, and piles of drawings in various media and different sizes; it was an amazing sight. Among these were The Mesquite Drawings, about which Pagk says, "I made these drawings and others in two drawing pads during and after my visit to Marfa and the Chinati Mountains." From this visit a plan was hatched to bring a selection of Pagk’s drawings to Some Walls in Oakland.
Eighteen drawings are hung close together in a three-row, six-column grid. Each are 14 x 17 inches, made with graphite, crayon, oil pastel, and watercolor. These drawings not only demonstrate how Pagk thinks through and develops motifs for his painting, but also deserve examination and appreciation as finished works themselves. Line and form move between architectural and organic, emanating light and air. His imaginative structures and varied spaces tweak perspective and hint at intimate and surreal experience. They bring to mind Bachelard’s favorite images in The Poetics of Space—houses, cellars, huts, drawers, nests, corners, and human bodies—and we how subjectively experience these spaces. Joan Ockman says in her review of Bachelard’s book, "…space is the abode of human consciousness." Bachelard writes, "I should say: the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace."
Recent solo exhibitions include: Galerie Eric Dupont, Paris; Baukunst Galerie, Köln; Markus Winter Gallery, Berlin; and Moti Hasson Gallery, New York.
Recent group exhibitions include: Jason McCoy inc. New York; Sue Scott Gallery, New York; Exit Art, New York; Indianapolis Museum of Contemporary Art, Indianapolis; Geometric Progressions, Edward Thorp Gallery, New York.
Collections include: Fonds National D’Art Contemporain (FNAC), France; Le Bon Marché (LVMH group), Paris, France; Springfield Museum of Art, Ohio; Hood Museum of Art, Dartmouth College, New Hampshire; L’Artotec Limoges, FranceFRAC Picardie, France.Some Walls is a curatorial and writing art project in a private home in Oakland, California. Some Walls is open by appointment only. View the exhibition online at somewalls.com. To schedule a visit, or for more information, please contact Chris Ashley at firstname.lastname@example.org.
Previous exhibitions at Some Walls:
- Jeffrey Cortland Jones: “Recent Paintings, ” 2009
- A. Bill Miller: “Samples from the Gridworks Collection Project Archives," 2009
- Frederick Bell: “Return Trip: Bologna Antwerp Oakland Brussels," 2010
- Lorna Mills: "Zen Dog," 2010
- Douglas Witmer: "Fruitville," 2010
- Bruno Fazzolari: "New Work," 2010
- Patrick Michael Fitzgerald: “New Paintings & Drawings,” 2010
- Joseph Hughes: "Works on Paper – Four Decades – 1970s – 2000s," 2010-11
About Gaston Bachelard’s The Poetics of Space Joan Ockman writes, "…space is the abode of human consciousness." In this book Bachelard, "considers various kinds of ‘praiseworthy space’ that attract and concentrate the poetic imaginations: spaces of intimacy and immensity," such as rooms, closets, corners, cellars, huts, forest, nests, shells, and human bodies, what he calls "primal images." His interest is in how we subjectively experience “intimate” spaces as we daydream within them; he writes, "I should say: the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace." Dreaming, in this sense, means to imaginatively inhabit these spaces, to associate towards and from them, and to feel and think about these spaces and our place in them. These primal images are attractive entities of concrete essence that transcend memory and hold intimate, fundamental values.
Paul Pagk’s paintings, larger and materially denser than his drawings, are more heavily worked and layered, often undergoing radical changes in form and color during their making. This text’s concern, though these comments can also be applied to his paintings, is his "looser," quicker work on paper, in particular The Mesquite Drawings, about which Pagk says, "I made these drawings and others in two drawing pads during and after my visit to Marfa (Texas) and the Chinati Mountains."
The spaces and construction in Pagk’s paintings and drawings appear logical but are often slightly and suddenly otherwise: they may not abide by the absolute rules of perspective or physics, or are sometimes simply incomplete or unexpected. Each work’s image, however, a combination of field, diagram, and gesture, is a definite structural place emanating light and atmosphere. Scale may be either or both intimate and monolithic. Color is strong yet natural, marks are searching yet confident, surface is built yet porous. Pagk’s work hints at primal imagery, presenting a wide variety of spaces of "intimacy and immensity," and create material situations, visual structures, and pictorial space that prompt affective responses, the poetic imagination, and identification of and yearning for archetypal places and spaces, and the body’s relationship to these things. While the handmade spaces Pagk draws can function as primal images, the several ways he draws does not aim straight at archetype but is instead intentionally ambiguous and open for the purpose of varied personal and public experience. Using poet Jules Supervielle’s words, which Bachelard quotes (p187), we become:
Habitants délicats des forêts de nous-mêmes
(Sensitive inhabitants of the forests of ourselves)
On paper, using pencil, crayon, oil pastel, and watercolor, Pagk develops and rehearses motifs that may or may not find their way into the paintings. His imagery incorporates geometry and nature, design and incident, rendering and marks. Spaces and structures are made with line, gesture, colored field, outlining, and overlay. Skewed or incomplete perspective creates cubes and open boxes, wedges, channels and canals, planes, frames, notches, braces, curves, shells, sprials, and a sense of assembling and collapse. Diagrammatic drawing, schematic like a wire frame model and composed of straight, curving, spiraling, and repeated and layered lines, make both solid and fragile human spaces. There is the architecture of design and DNA, order and wildness, inside and outside, measured proportion and rhizomatic progression, and there is a full sense of light and atmosphere, whether natural, urban or artificial. Additionally, and in contrast, there is a touch of the (decidedly lower-case) surreal, "the disorienting, hallucinatory quality of a dream; unreal; fantastic." But always, as David E. Denton’s comment about Bachelard’s images affirms, "The image always breathes the vibrations, the rhythms of intimacy, warmth, and attractiveness, and always functions on the ‘human plane.’"
There is nothing without narrative; that is, everything has a story, and without story nothing exists to us. It is how we experience and know and remember everything. To deny narrative is to deny past, present, and future, and to deny our relationships to each other and the things around us. To deny narrative of any type in an artwork is to be in stark and terrifying existential denial. Narrative in an artwork has multiple strands, the immediate of which are: our seeing, reacting to, and thinking about the art work; the evidence of the work’s making, the materials, the artist’s hand, and the process; its place in history and relationship to other art; the context and institutional frame in which the work is seen; the memory carried away from it; and so on. Pagk’s art not only works within and uses these narrative strands, but also allows us entry as sensitive inhabitants to the structures, spaces, and forests of the spaces he creates, as well as the structures, spaces, and forests of ourselves. This is a complex yet fundamental and necessary visual, intellectual, reflective, and meditative function. A final Bachelard quote reminds us of the primacy and experience of the kinds of images Pagk conjures: "The grace of a curve is an invitation to remain. We cannot break away from it without hoping to return. For the beloved curve has nest-like powers; it incites us to possession, it is a curved corner, inhabited geometry."
- Joan Ockman. Harvard Design Magazine. Representations/Misrepresentations. Number 6, Fall 1998. http://www.gsd.harvard.edu/research/publications/hdm/back/6books_ockman.html
- Gaston Bachelard. The Poetics of Space. Beacon Press. Boston. Translated by Etienne Gilson. 1964.
- "Surreal." Dictionary.com. http://dictionary.reference.com/browse/surreal
- David E. Denton. Notes on Bachelard’s Inhabited Geometry. Environmental & Architectural. Phenomenology Newsletter. ND. http://www.arch.ksu.edu/seamon/Bachelard.htm
RESUME (See a complete and current resume)
Paul Pagk (web site)
- Born in England UK, 1962
- Lived in England, Austria, France and lives and works in New York since 1988.
- 1978 to 1982: École Nationale Supérieure des Beaux-Arts, Paris, France
Selected Solo Exhibitions
- Mesquite Drawings, Some Walls, Oakland CA, USA
- Recent paintings: My Red Maybe Your Orange, Even, Galerie Eric Dupont, Paris, France
- Children of the Revolution Cosmic Sex Poem, Exhibition, New York, USA
- Home is where the heart is, Baukunst Galerie, Köln, Germany
- Recent Paintings, Gallery Eric Dupont , Paris, France
- To K from P with love, Markus Winter Gallery, Berlin, Germany
- Aftermath & Lexicon, Moti Hasson Gallery, New York, USA
- Open Project Space, New York, USA
- Galerie Eric Dupont, Paris, France
- Batlle Pagk curated by Adrian Dannatt, Thomas Erben Gallery, New York, USA
Selected Group Exhibitions
- 70 Years of Abstract Painting – Excerpts, Jason McCoy inc. New York, USA
- PAPER A-Z, Sue Scott Gallery, New York, USA
- Geometric Days, curated by Papo Colo, Jeanette Ingberman, and Herb Tam, Exit Art, New York, USA
- Painting and Sculpture, Foundation for Contemporary Art Benefit, Lehmann Maupin, New York, USA
- Informal Relations, curated by Scott Grow, Indianapolis Museum of Contemporary Art, Indianapolis, USA
- Geometric Progressions, Edward Thorp Gallery, New York, USA
- Lush Life, curated by Franklin Evans and Omar Lopez-Chahoud, Scaramouche, New York, USA
- A fleur de peau II – Le dessin à l’épreuve, Galerie Eric Dupont, Paris, France
- Present, curated by Jay Murphy, HP Garcia Gallery, New York, France
- Group Show, Galerie Eric Dupont, Paris, France
- Untitled (On Paper), Moti Hasson Gallery, New York, USA
- Inside the Pale, curated by Frank Schroder, Thrust Projects, New York, USA
- Orthodoxe/Hétérodoxe : choisir sa ligne, Le 10neuf, C.R.A.C. Monbéliard, France
- Beyond the Pale, curated by Candice Madey and Tairone Bastien, Moti Hasson Gallery, New York, USA
- Trait, ligne, écrire l’espace, F.R.A.C Beauvais, France
- Twist it Twice, curated by Franklin Evans, Moti Hasson Gallery, New York, USA
- Hands up/Hand down, Miguel Abreu Gallery, New York, USA
- A fleur de peau, Galerie Eric Dupont, Paris, France
- 2000 The Sheldon Bergh Award, USA
- 1998 Pollock-Krasner Foundation, New York, USA
- 1987 Prix Fenéon, Université de la Sorbonne, Paris, France
Selected Public Collections
- New York Presbyterian-Cornell Hospital, New York, USA
- Fonds National D’Art Contemporain (FNAC), France
- Le Bon Marché (LVMH group), Paris, France
- Springfield Museum of Art, Ohio, USA
- Hood Museum of Art, Dartmouth College, New Hampshire, USA
- L’Artotec Limoges, France
- FRAC Picardie, France
- "Les Abattoirs", Musée de Toulouse, France
- Ville de Brétigny-sur-Orge, France