Julian Opie

Monica De Cardenas | Milan

It has been said that during the ’80s young English sculptors—Julian Opie among them—abandoned the countryside and returned to the city. Rather than using, for example, the stones of Richard Long, this new generation of artists adopted the materials of everyday life and industrial production. Today, at least in Opie’s case, one can say that the artist has again returned to the country. Two of the three wall paintings in this exhibition showed different types of natural landscapes, one mountainous with pine trees and snowy peaks, the other softer and more hilly—the typical image of the English countryside.

These landscapes seemed deliberately generic, and the brushstrokes that described trees, mountains, or hills appeared to have been quickly executed. The paintings also openly declared their relationship to computer graphics (Opie often uses a computer as an aid in creating them). Next to

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