Pia Fries

Mai 36 Galerie

Pia Fries typically crosses broad, white grounds with thick brushstrokes, furrowing and altering the picture plane with blots, traces of drops, superimpositions, and washes, as if the canvas were once again the arena it was for classic gestural painting. The impression of spontaneity, however, is repeatedly undone under closer examination: At first barely noticeable, silk-screened photographs of applied paint emerge from the loose texture of the oil painting. Spot and brushstroke directly encounter their own reproductions. The authentic gesture of painting is replaced, almost indistinguishably, with its copy. The display of paint, its flow, and its thinning are expanded a level by a memory of painting, a recollection of the painted. The eruptions of paint, which in Fries’s work have always run up against the external form, are, in these new paintings, further disturbed by images within

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