![]() Documenting these actions just felt natural.”ĭustin London, R-A-T-Q, 70 x 60″, Oil on Canvas, 2017Ĭonstructivism was the last art movement to flourish in the 20th century as a modern and influential movement in Russia. It seemed appropriate to shift the work to a place where it was more about a process, where a piece became an action or decision in a specific place and specific time, inseparable from me as a living, breathing human being, where the piece also had a certain lifespan. This corresponded to an ongoing desire for freshness and openness in the work, never wanting to close anything down. ![]() At a certain point, it seemed more appropriate to cut out the middle-man, as it were, and allow the work itself to become impermanent rather than refer to impermanence through a rather concrete form. For example, a simple line may have referred to a shape caught out of my periphery while walking my dog. When asked in a recent interview in Artspace 2013 why impermanence is important to his work, London answers, “Just before I started making these I was interested in ephemeral visual moments but was making paintings on canvas that were essentially descriptions of experiences. What is powerful is that we are left not sure what we are seeing or where it fits into our universe, often referred to as original.ĭustin London, Oil on Canvas, Detail, 2017 The foreground on a light green background juxtaposes to this olive green background, both engulfing an amoeba-like shape. Lines are solid and perforated, while the picture plane is divided in half. The circular gradation is created by the line work. Standing at a distance, the viewer gets a hard edge that defines the shape, something like Frank Stella, who used tape to create the edge, but upon closer observation, London’s edge is produced using a brush in a very consistent square stroke of oil paint. London’s overall green-based composition contrasts shape, line and form. Compared to London’s abstractions, there are similar elements you would find in Russian Avant-Garde Constructivism, recently on exhibition at the Museum of Modern Art in New York City, 2017. ![]() Artists like Paul Gadegaard, or Alexandra Exter, who did their work nearly a hundred years ago. I immediately did a mental search for a broader context. The first thing that came to me was Russian Constructivism, circa 1920. When I first experienced the work, especially the painting Palindrome,I was attracted to the forms and color combinations. Dustin London, Palindrome, 52 x 62, Oil on Canvas,
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