A painting is simply a screen between the producer and the spectator where both can look at the thought processes residing on the screen from different angles and points in time. It enables me to look at the residue of my thinking.
Gagosian is pleased to present new paintings and sculpture by Katharina Grosse. A prominent figure on the international art circuit, this is her first gallery exhibition in New York and at Gagosian, following a series of significant public commissions in the United States in recent years.
Grosse approaches painting as an experience in immersive subjectivity. With a spray gun, she distances the artistic act from the hand, stylizing gesture as a propulsive mark. The resulting pictures are distinct, but never predetermined. Spatial tensions rise through shifts in chromatic temperature. Challenging boundaries, she reintroduces her body as an active agent within a vision of contemporary existence that is at once physically isolated and densely networked.
Embracing the events and incidents that arise as she paints, Grosse opens up surfaces and spaces to the countless perceptual possibilities of the medium. While she is widely known for her temporary and permanent in situ work, which she paints directly onto architecture, interiors, and landscapes, her approach begins in the studio. With calculated focus, she allows new patterns and procedures in her paintings to emerge from action, further multiplying this potential with stencils cut from cardboard and thick foam rubber—tools with which to develop further cuts, layers, and perspectival depths. Grosse’s gestures unfold all at the same time in unmixed acrylic colors, engulfing the viewer in a toxic sublime.
In this exhibition, selected works from several interconnected suites of untitled paintings produced during the last twelve months demonstrate this constant interaction of process and material. Base shapes migrate from one painting to another, appearing in new layers or fusing into clusters that advance and retreat. The paintings record Grosse’s ongoing choices about color, density, and velocity. In one group, monadic forms proclaim their specific hues within larger zones of color. A red shape takes its place amid expressive, jewel-toned streaks. A plane of cerulean blue opens, or perhaps closes, to a black and yellow void. In other, more complex orchestrations, these coloristic moments become so compelling that the canvas, which supports it all, is easily forgotten.
A recent cast metal sculpture sprawls across the floor, its torqued and rippled surface hosting overlapping sprays and drips. White space splices through encrusted abstraction, and fluid propulsions refute the boundaries of each plane. Between driftwood and space junk, the sculpture transforms as one moves around its smooth crests and sharp-edged cavities. Grosse compresses the natural, the industrial, and the technological, generating fields of color that hover between three and four dimensions.
An interview between Katharina Grosse and Louise Neri. The two discuss Grosse’s process and examine the countless perceptual possibilities of her medium.
Katharina Grosse: Mumbling Mud
We take a visual tour through Katharina Grosse’s Mumbling Mud and the installation process behind it as the artist discusses the effects of the work’s merging of built and painted space.
Trouvé and Grosse: Villa Medici
Tatiana Trouvé and Katharina Grosse discuss their exhibition Le numerose irregolarità, at the French Academy in Rome, Villa Medici, with curator Chiara Parisi.
Gagosian Quarterly Spring 2018
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
Katharina Grosse at Carriageworks
On the occasion of Katharina Grosse’s latest in situ painting The Horse Trotted Another Couple of Metres, Then It Stopped, at Carriageworks, Sydney, a series of video interviews with the artist was created.
Katharina Grosse reflects on the work of Cy Twombly.