Beyond Fontana: Cut, Slash, Slit; Hole, Puncture, Piercing, Perforation; Penetration, Wound, Construction
Studio 1.1, London
Curated by Stephanie Moran
SLASH
"Julie Fagan’s paintings contain entrances and exits like film-set fronts leading into the void or mysterious place. The objects – doorways, diving boards, fences – which sit in the expanse, are eerily ideal, the perfection of their shadows spookily unreal. They relate to Fontana’s slash as opening onto another dimension, as spatial concepts, but also the slash as drastic reduction, as minimalism.
They represent in-between, the slash as hyphen: or, but sometimes and. They are like line breaks in plays or poetry, the quick breath in, which forms lyrical or rhythmic spaces. This is echoed in the colour of the spaces, shades of dreamy blue through to stormy winter blue-greys, the spectrum of British weather. The expanses are sky and sea, those in-between spaces which take on any form they fill. In content there is a yearning idea of the British seaside, in the diving boards and beach huts.
They recall the slash of computing, of web addresses and cyberspace: appropriately for images sculpted in three dimensions on a computer, worked out virtually and then painted meticulously. In many ways, Fontana’s concept of infinite space could be applied to cyberspace. His ‘Manifiesto Blanco’ embrace technological progression in its quest to articulate the ‘fourth dimension’, and as furthering of Futurist concerns with dynamic form.
Fagan’s concern with space aligns with Fontana’s constructing spaces, towards the infinite and dematerialisation. Fontana’s slashes evoke the end of the world and disembodiment, while Fagan’s space of the slash combines cyber-space and the poetic in-between, ideas of escape and release, and the ability to construct our own metaphysical plane. "
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Studio 1.1, London
Curated by Stephanie Moran
SLASH
"Julie Fagan’s paintings contain entrances and exits like film-set fronts leading into the void or mysterious place. The objects – doorways, diving boards, fences – which sit in the expanse, are eerily ideal, the perfection of their shadows spookily unreal. They relate to Fontana’s slash as opening onto another dimension, as spatial concepts, but also the slash as drastic reduction, as minimalism.
They represent in-between, the slash as hyphen: or, but sometimes and. They are like line breaks in plays or poetry, the quick breath in, which forms lyrical or rhythmic spaces. This is echoed in the colour of the spaces, shades of dreamy blue through to stormy winter blue-greys, the spectrum of British weather. The expanses are sky and sea, those in-between spaces which take on any form they fill. In content there is a yearning idea of the British seaside, in the diving boards and beach huts.
They recall the slash of computing, of web addresses and cyberspace: appropriately for images sculpted in three dimensions on a computer, worked out virtually and then painted meticulously. In many ways, Fontana’s concept of infinite space could be applied to cyberspace. His ‘Manifiesto Blanco’ embrace technological progression in its quest to articulate the ‘fourth dimension’, and as furthering of Futurist concerns with dynamic form.
Fagan’s concern with space aligns with Fontana’s constructing spaces, towards the infinite and dematerialisation. Fontana’s slashes evoke the end of the world and disembodiment, while Fagan’s space of the slash combines cyber-space and the poetic in-between, ideas of escape and release, and the ability to construct our own metaphysical plane. "
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