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Solo show: Mark Sheinkman - SOME OTHER STREETS IN THE BRONX (over)

12 December 2008 until 31 January 2009
  Mark Sheinkman - SOME OTHER STREETS IN THE BRONX
Mark Sheinkman, Grandview, 2008, oil, alkyd and graphite on paper, 101.6 x 76.2 cm
 
  fruehsorge contemporary drawings

fruehsorge contemporary drawings
Heidestrasse 46-52
10557 Berlin
Germany (city map)

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Mark Sheinkman

SOME OTHER STREETS IN THE BRONX


private view: friday 12/12/ 6-9 pm
duration 12/12/2008 -1/31/ 2009

Mark Sheinkmanīs works of drawings are investigations and analyses of space, light, line and movement. Like prior to him Jackson Pollock or Brice Marden or later also Christopher Wool the New York based artist is fascinated by the possibility of the linear, the infinity of the line, which appears on one side of the paper and disappears on another. At some parts of the drawing, the line seems to arise out of nothing and after some turns and twists it resolves or defibers again. The extent of the space stays vague, but the dynamism and power of the line, which tramps through it, determines the composition. In his recent drawings Sheinkman resigns the all-over structure of his earlier works for the benefit of a stronger accentuation of the spacial dimension.

Disregarding the non-objectivity - the titles "Longfellow", "Kelly" or "Randall" just refer to the streets around his studio in the Bronx -these works also evoke emergences of the visual world. They change between material and immaterial. Through the blaze of the graphite and the deep structure, which surrenders from the superimpositions of glowing and transparent loops, the drawings suggest darkness, which is breached of light rays; or clouds of smoke, which are standing in black emptiness and finally dissipate in it.

Also Sheinkmanīs technique is fascinating. His drawings are not being made by superimposition of layers, as expected, but by the process of elimination. First he spreads powdered graphite with rags and brushes, which is fixed which oil and alkyd, and then he uses a rubber to draw the lines and loops into the graphite. The pattern is generated in the process of work and underlies no former sketch. Sheinkman firstly used this procedure in 1994 and then perfectionated it until he made it to his main technique of working in 2002.

While some parts of the paper stay untouched, others are traversed by glowing, curling, opaque ribbons, which add an elegant component to the leaded grey. Through the contrast of calm and dynamic parts the artist manages to add poetic forms to the abstract drawing, which invite to contemplative perception.

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