For Exhibition 41, we are pleased to be hosting London-based painter Clem Crosby with a suite of new paintings in oil on aluminum-backed formica panels.
Crosby's work grew out of monochrome roots back to modes that incorporate drawing, figure-ground and composition, but without sacrificing the conceptual underpinnings of radical painting. He has managed to balance the interdependence of image and object in his painting, much in the way that they merge in a ceramic vase. Crosby's conscious exploitation of the peculiarities of his formica support, and its contribution to his picture making, pushes his result beyond abstract expression to something more concrete and actual. His palette tends toward complex tertiaries, often mixed wet on wet on the panel in stacked planes and latticework. The physicality of his color anchors the image back down to the support, almost as if the vestigial picture has been pulled up from the back. He works in a subtractive mode, painstakingly iterative, with a great deal of wiping and revision.
Crosby represented Britain in 2012 at the Venice Biennale Architectural Pavilion with the firm Haworth Tompkins. He is represented in London by Pippy Houldsworth and has shown at the Tate Britain Drawing Symposium, the UC Berkeley Art Museum, and Lisson Gallery. This is his fourth solo with the gallery.
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Crosby's work grew out of monochrome roots back to modes that incorporate drawing, figure-ground and composition, but without sacrificing the conceptual underpinnings of radical painting. He has managed to balance the interdependence of image and object in his painting, much in the way that they merge in a ceramic vase. Crosby's conscious exploitation of the peculiarities of his formica support, and its contribution to his picture making, pushes his result beyond abstract expression to something more concrete and actual. His palette tends toward complex tertiaries, often mixed wet on wet on the panel in stacked planes and latticework. The physicality of his color anchors the image back down to the support, almost as if the vestigial picture has been pulled up from the back. He works in a subtractive mode, painstakingly iterative, with a great deal of wiping and revision.
Crosby represented Britain in 2012 at the Venice Biennale Architectural Pavilion with the firm Haworth Tompkins. He is represented in London by Pippy Houldsworth and has shown at the Tate Britain Drawing Symposium, the UC Berkeley Art Museum, and Lisson Gallery. This is his fourth solo with the gallery.
For Exhibition 41, we are pleased to be hosting London-based painter Clem Crosby with a suite of new paintings in oil on aluminum-backed formica panels.
Crosby's work grew out of monochrome roots back to modes that incorporate drawing, figure-ground and composition, but without sacrificing the conceptual underpinnings of radical painting. He has managed to balance the interdependence of image and object in his painting, much in the way that they merge in a ceramic vase. Crosby's conscious exploitation of the peculiarities of his formica support, and its contribution to his picture making, pushes his result beyond abstract expression to something more concrete and actual. His palette tends toward complex tertiaries, often mixed wet on wet on the panel in stacked planes and latticework. The physicality of his color anchors the image back down to the support, almost as if the vestigial picture has been pulled up from the back. He works in a subtractive mode, painstakingly iterative, with a great deal of wiping and revision.
Crosby represented Britain in 2012 at the Venice Biennale Architectural Pavilion with the firm Haworth Tompkins. He is represented in London by Pippy Houldsworth and has shown at the Tate Britain Drawing Symposium, the UC Berkeley Art Museum, and Lisson Gallery. This is his fourth solo with the gallery.
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Crosby's work grew out of monochrome roots back to modes that incorporate drawing, figure-ground and composition, but without sacrificing the conceptual underpinnings of radical painting. He has managed to balance the interdependence of image and object in his painting, much in the way that they merge in a ceramic vase. Crosby's conscious exploitation of the peculiarities of his formica support, and its contribution to his picture making, pushes his result beyond abstract expression to something more concrete and actual. His palette tends toward complex tertiaries, often mixed wet on wet on the panel in stacked planes and latticework. The physicality of his color anchors the image back down to the support, almost as if the vestigial picture has been pulled up from the back. He works in a subtractive mode, painstakingly iterative, with a great deal of wiping and revision.
Crosby represented Britain in 2012 at the Venice Biennale Architectural Pavilion with the firm Haworth Tompkins. He is represented in London by Pippy Houldsworth and has shown at the Tate Britain Drawing Symposium, the UC Berkeley Art Museum, and Lisson Gallery. This is his fourth solo with the gallery.
show less
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