For a viewer faced with a painted wall, the outermost surface of Maria Taniguchi’s untitled paintings appears almost depthless: thousands of assiduously painted bricks are sealed flat by its medium, combined to form an immense presence whose weight is merely canvas. To be confronted by a painting mimicking a wall—or a wall mimicking a painting—might seem facetious, if not for the work’s clear invitation to look over the immediate and into Taniguchi’s practice as it stands in its entirety. Concerned with the agency of painting as a conceptual apparatus in a constellation of work that includes video installation and sculpture, for the artist, the brick paintings might be seen as a device encapsulating, in code, a synopsis of thinking, a nervous system of sorts.
image: Untitled (detail)
#art #artPh (at Silverlens Galleries)