From Sep 15, 2011 - 07:00 PM till Sep 15, 2011 - 10:00 PM at Black & Yellow
Total Confusion Fabulous is an exhibition of new electric paintings by Bradley Harms. The group of neon abstract works demonstrates precision of color and hand. The surfaces are painted with mechanical conviction. Each piece undoubtedly borrows from the tropes of digital art while eschewing machine techniques through hand-applied lines. The precision of these lines hint at t…echnology. Where there are repeated gestures, elaborate and complex systems form. The result is a visual flipping between surface assertion and spatial invitation.
Through Total Confusion Fabulous, Harms takes a contemplative stance on modernism, pushing forward with a process that is addictive rather than modernists’ reductive. He dismantles abstraction, reconfiguring it in order to create a viable and forward-looking syntax that reflects current social and technological developments without simply mirroring them. What results is a building upon, not seeking to raze historical precedent but implying a renewal or elaboration of older forms. The implications of this strategy are somewhat open-ended. Are the paintings making fun, gently ribbing older forms? Or, are they simply building upon the traditions of painting?
Please join us September 15th for Harms’ premier solo exhibition in Vancouver at Black & Yellow, room 106, The Waldorf Hotel.
ABOUT THE ARTIST
Born in 1970, Winnipeg, Bradley Harms received his BFA from the
University of Calgary in 1996 and his MFA from the prestigious School of the Art Institute of Chicago in 2004. Harms has exhibited extensively throughout Canada, as well as on the international stage, including Chicago, New York, San Francisco, Miami, Munich, Sydney, Singapore, and Tokyo.
For the past number of years, Harms has taken a leading role in a new and forward-looking wave of Canadian abstraction, building upon traditions within the medium, while creating work that both reflects and critiques contemporary social and technological developments. Harms’ work addresses the manner in which we perceive painting. Manipulating the ideas of surface, form, and our
notion of perfection.