Charlie Tatum

  • Kevin Ford, Memphisish Vase, 2017, acrylic on canvas mounted on panel, 9 x 12".
    picks January 18, 2019

    Kevin Ford

    Afterimages are the bright lights or colors that remain in one’s field of vision after the original image is no longer present. With their combinations of soft lines and harsh hues, Kevin Ford’s airbrushed paintings seem to stick to one's retina. In his show “Version Version,” Ford depicts Pop-like abstractions of people, animals, and objects in lurid swaths of color—magenta, safety yellow, turquoise. In Banana and Journal, both 2017, the titular subjects fade in and out of view against their glowing neon backgrounds.

    Ford’s use of acrylics feels distinctly digital, as if the compositions were

  • Zarouhie Abdalian, Chanson du ricochet, 2018, ink on wall, 135'.
    picks November 14, 2018

    Zarouhie Abdalian

    A seemingly infinite band of delicate cursive text wraps around the walls of two rooms: "sandpaper, casting flask, devil’s claw, steam shovel, razor blade, boom, dipstick, WeedWacker.” This textual collection of tools is the backbone of Zarouhie Abdalian’s solo exhibition, which reconsiders the conditions under which we collectively name work. The combination of mundane and obscure implements highlights ignored, undervalued, and blue-collar forms of labor. A complement to this visualization is Transport Empty, 2017, a compilation of noisy recordings of a commercial kitchen, a construction zone,