Outward Definitive Edition for iphone instal

It’s a lot like your writing.ĪS Whenever I’m given a writing assignment, I just read everything I can about the subject. Your work is so playful and vibrant, and it often seems improvisatory, but there are these embedded histories in each work. But it’s all attached to feeling – and thought.ĪD You’re someone who’s interested in the genealogy of images, gestures and colour.

And I am formal when I build an abstract painting – I’m looking at line, space, depth, transparency, scale, density, all of that. So, in a way, I’m thinking about choreography and movement – the outside of a painting as much as the inside.

It was hard to make it look good, but then the intimacy came through – you had to see it at different distances. I felt similarly about my contribution to last year’s Venice Biennale.

I feel proud of this show because, when we installed it, I saw immediately that we nailed it in a certain way. Every time I go to a place, I feel it intensely and spend a long time sensing its heaviness and lightness. I like to think about how the work unfolds from wall to wall, room to room, passage to passage. I always hang my own shows in collaboration with whomever I’m showing with. Courtesy: the artist, Gladstone Gallery, New York and Thomas Dane Gallery photograph: Roberto SalomoneĪD Does the character of a place like Naples affect how you put together a show?ĪS It’s more that, when I install a show, I still feel in the period of the work. I make contradictions that’s the way I go forward – by making a big painting, then 20 little ones, then an abstract one, then one about people, then heads, then turning them upside down and making torsos, and then saying, ‘That’s all wrong.’ For this show, I photographed every stage of a painting as it was being made, then printed the black and white images on aluminium panels so that they can be seen as a film strip this work – Temporary Object (2023) – amounts to an animation, where you see all of the innards of a painting and how it develops sequentially.Īmy Sillman, ‘Temporary Object’, 2023, installation view. Lately, I’ve been trying to use an exhibition, like this one, as a framework that expands the painting outward and allows for a substructure of time to hold the work together. Can you tell me about these new paintings?Īmy Sillman When I work, I think about sequence and page-turning. Andrew Durbin You’re in Naples for a solo exhibition at Thomas Dane.

Outward Definitive Edition for iphone instal