New York

Sarah Seager

Luhring Augustine | Chelsea

The noncolor white sustains some too obvious metaphorical resonances. Purity, innocence, origination, virginity: such a symbolic register can degenerate very quickly into weak parody. White is the color worn by dead people who go to heaven. Furthermore, to base one’s artistic project on an exploration of the valences of the color white involves a pretty heavy gloss on the history of Modernism, with maybe just a pinch of Kasimir Malevich and a whole lot of Robert Ryman.

As Yves-Alain Bois has noted, Ryman’s “deconstruction” is not simply the work of negation, it is rather, a process “endlessly restrained, amorously deferred...the thread is never cut.” In her predominantly white paintings and sculptures, Sarah Seager attempts to stretch that thread just a little bit more. Although her chosen pictorial mode is suffused with exhaustion, it is a languorous exhaustion in which Seager can evidently

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