Madrid

Richard Tuttle

Galeria Weber/Alexander y Cobo

Perhaps none of the verses from Rainer Maria Rilke’s elegies appears as enigmatic as the one in which he recalls the desire for the earth to become invisible. In contemplating Richard Tuttle’s work, however, the verse becomes transparent, as if Tuttle’s intentions coincided exactly with Rilke’s. Here, the two series of “Perceived Obstacles,” 1991, seem, in fact, determined to facilitate this world’s transition to the immaterial. In the ten watercolors, a landscape quality is present: nature—reality—is represented, summoned to a journey toward the transparent space of imagination. Pure color might be a vehicle by which the perceived obstacle dissolves; as Tuttle states, “Sometimes the vertical . . . becomes itself part of the invisible.”

In the painted constructions “Perceived Obstacle I–XX,” 1991, the pathway is inverted. It becomes a matter of “constructing” an object that fully inhabits

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