Sean Scherer

Galerie Forsblom | Helsinki

Time, the avant-garde, and Europe can be problematic concepts for American artists, but Sean Scherer’s paintings grow out of these concepts. His work seems to echo the dilemma that has faced the American esthetic in recent years: do we see more than what we see? In other words, does art also have a spiritual dimension? Scherer’s paintings take their point of departure from the Russian avant-garde of the beginning of the century, especially Kazimir Malevich’s Suprematism. Many “neo-geo” artists have drawn from the same well, but Scherer takes his historical journey on his own terms. Not only is he interested in the visual rhetoric of the Russian avant-garde, he also investigates the paintings as historical objects. Everyone who has seen Malevich’s Black Square, 1915, in its present condition, knows that it is not black, that it has been oxidized to blue-gray, and that it is badly cracked.

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