Scott Nedrelow

David Petersen Gallery
2018 Lyndale Ave. S.
February 22, 2014–April 5, 2014

Scott Nedrelow, Untitled (Afterlight) 9, 2014, Epson Ultrachrome K3 ink, photo paper, 92 1/2 x 60 1/2”.

Upon first entering the gallery, one might be quick to assume that the exhibition hasn’t been installed yet. Minneapolis-based Scott Nedrelow’s large paintings consist of such subtle blurs of color against white photo paper that they evoke surfaces where something has once been and is now gone, leaving only a trace of its rubbings.

Nedrelow’s show, titled “Afterlight,” consists of the series “Untitled (Afterlight),” 2014—six numbered paintings located in the main gallery—and a two-channel video installation tucked into a small back room. Achieved by airbrushing Epson printer ink onto photo paper, the diffused color—ranging across the spectrum among the six works—is arrayed near the vertical edges of the pieces, the centers remaining bright white. The effect is so unassuming that in any other context these works could be taken for misprints or rejects from a printing process intended to create more conventional images.

The video installation, Earthrise/earthset, 2014, invites viewers to watch waves crashing on an overcast beach. The two adjacent channels represent dawn and dusk. Each camera remains fixed on an astral point, so over the course of the work’s forty-five-minute duration, one view (dawn) seems to tip upward, the sky lightening; the other view (dusk) seems to tip downward, the sky darkening. By the end of the work, the two perspectives seem to have traded places.

Nedrelow, who also works as a designer and publisher, and whose previous multimedia work has included a wall-mounted carpet, invites viewers to contemplate traces and tracks. By presenting these tidal videos alongside his ghostly airbrushed paintings, Nedrelow reminds us that in the act of perceiving, we’re simultaneously aware of what has been and what might be.

— Jay Gabler