Juxtapoz Magazine – Tyler Cross: “what part of the whale” @ pt.2 Gallery, Oakland


pt.2 gallery is delighted to existing “what element of the whale”, Tyler Cross’s first solo exhibition, the display consists of four massive paintings on shaped panels, 4 modest diptychs, and five smaller bronze wall sculptures.  The genesis of this entire body of work can be traced to a whale carcass that washed up on the seashore at Point Reyes National Seashore in 2019.  Tyler frequented the carcass every single couple months about a two yr period of time.  

The four compact diptychs built from two 8 x 11 canvases give an expansive and zoomed out working experience inspite of their measurement.  These paradoxical paintings look to show us grand scenes, probably landscapes or anything colossal, significantly away and at very low resolution.  They come to feel like polaroids capturing some rare party, but we are held from at any time really recognizing what.  

The bronze wall sculptures, which could healthy in your flattened hand had been cast from plywood.  These picket types ended up formerly utilised as resources in Tyler’s portray course of action, generally employed as stencils or stamps.  In retiring these equipment and eulogizing them in bronze they act as artifacts of the portray approach.  They give the effect of sarcophagi for an older shape-language no longer remaining spoken.  

The 4 big paintings are comprised of formed canvases, nailed un-stretched to a wooden panel of the exact silhouette. The solid outer sort echoes into alone, revealing a charcoal framework, making them reminiscent of X-ray photos.  The skinned and mounted canvases reveal a painter’s hypnogogia, bubbling up to illustration but often sliding again into abstraction, they hardly ever really ring a bell for you, never ever completely carry the veil.  This offers them a a little ominous feel despite the vivid, at situations virtually neon hues.  The canvases appear to be churning, rhythmically oscillating with presence and absence.  They present a little something in the midst, a sensitivity to dynamism and the ability to react to it.  A procedure looks to be underway, the sigilization of putrefaction in distorted time-lapse.  The paintings resistance to conveying by themselves provides forth desire, the refusal to give obvious facts awakens creativity, the irretrievable summons eros.  Slowly and gradually gazing at these paintings feels like an antidote to staring at too lots of graphs – much too numerous charts – also lots of facts – as well numerous memes.  There is no facts listed here, no discourse, only encounter of the 1st order, a sort of figuring out that is getting progressively unusual.



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