Kadar Brock
Conjuring and Dispelling

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Kadar Brock
Conjuring and Dispelling

These are good dirty paintings. For Brock painting is an imperfect machine that repeats accidents.
It emphasizes introspection, openness, and self-challenging, and conjures the possibility of higher meaning. Following the ideological and formal lineage of abstraction, and starting with a most basic mark, Brock's work forces questions on contemporary painting and drawing.

Conflicting painting modes are conjured, but do not necessarily cancel one another out; their coexistence is harmonious and tenuous - zig-zagging on the precipice between meaningful and meaningless. A single canvas includes synthesized but disparate abstract painting modes and materials, forcing a tension between visual unification and ideological divergence. Mirroring forms replicate, but backwards and unconnected.

These markings are filled with, and emptied of, meaning. He approaches spiritual content by referencing New Age Spirituality, magic, Abstract Expressionism, and Romanticism, while still considering aesthetics of "anti-painting" and "painting's autonomy." Ideologically these works look at inner-life vs. outer-appearance and how "other" content relates to more minimal modes of abstraction, as well as expressionistic modes of figuration. Using a process that is framed by rules and procedure, yet within that box, incredibly intuitive and improvisational, the paintings become rituals that span the material world to transcendence. Specifically, the wizzardry reflects a physical manifestation or insertion of the magic imbued in art.

Bluntly testing the day-to-day logistics of the painting process, the works project an ultimate reality outside of the physical world. Staring up at their patterns, or having them impose themselves on a physical space propels thought infinitely past the limits of references and standards, into a world without them or anything else.




彼の作品に描かれたものは意味に満ちているが、また同時に意味が奪われてもいる。彼はニューエイジの精神、魔法、抽象表現主義、ロマン主義を参照しながら精神性の問題に取り組みつつも、一方では「非 - 絵画」や「絵画の自立性」の美学についても検証している。そして概念上の問題としては、精神世界と外観の対立について、また「その他」のものがどのように抽象絵画のミニマルな表現や、表現主義の形態の表現と関係しているのか考察をすすめている。ルールと手順を定めたプロセスのもと、実に直観的で即興的な方法で、しかしその枠の中にとどまったまま、絵画は物質世界を超越するための儀式となる。つまり、彼の魔術のような絵画の制作方法により、魔法はアートに染みだし、物質的な現れとして姿を表すのだ。


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