Ali Banisadr: Painterly Advisor; Conversationist
Jon Beer: Installation Assistance
Chris Conroe: Installation Assistance
Omar Lopez-Chahoud: Exhibition Editorial Consultant
Mary Mattingly: Aesthetic Consultant; Conversationist; Installation Assistance
Lily Koto Olive: Installation Assistance; Aesthetic Consultant
Norm Paris: Art Historical, Installation, Sculptural advisor; Conversationist
This is the content for the artist booklet version accompanied You are Nature exhibition from February 9 – March 10, 2012 at Elizabeth Harris Gallery, 529 W 20 St, New York, New York 10011 www.elizabethharrisgallery.com 212 463 9666
Greg Lindquist received a dual masters degree in fine arts in painting and art history from Pratt Institute in 2007. Recently, he has participated in the group shows “Planet of Slums,” co-curated by La Toya Ruby Frazier and Omar Lopez-Chahoud and “No One is an Island” at LMCC’s exhibition space on Governor’s Island curated by Omar Lopez-Chahoud. He is the 2009-10 Pollock-Krasner Foundation Grantee and the Sally & Milton Avery Arts Foundation Grantee for the 2009 Art Omi International Artist Residency. His work has been written about in various publications, including Art in America, ARTNews, Frieze, Harper’s Magazine, The New York Sun, The New York Observer, The New York Press and Sculpture. He is currently working on several collaborative projects with Mary Mattingly, including “Landship” and “Food, again.” Lindquist lives and works in Greenpoint, Brooklyn.
This booklet was printed in an edition of 400 in a sleepless burst of creative energy.
“You are Nature” examines the perceived distinctions of nature and culture that Lindquist dissolves in painting. While we might look stereotypically at the forms of nature as amorphous and with “organic” curves rather than geometric or rhomboid (as Robert Smithson discusses in Wilhelm Worringer’s Abstraction and Empathy), Lindquist establishes that there is no difference. Lindquist’s title also recalls Jackson Pollock’s famous statement in response to when Hans Hoffman challenged Pollock’s drip paintings, telling him that he needed to be working from life or from nature and Pollock retorted, “I am nature.” Lindquist also has been affected by Peter Halley’s essay “Nature and Culture” in which he describes cultural events such as World War II as natural disaster like a flood or fire, calling attention to phenomenon as a web of signs that constitute the modern world.
Some of Lindquist’s works depict enigmatic objects in the landscape, while others frame the landscape through technology such as digital screens that, like paintings, mediate how we experience our world. His work broadly views the landscape impressionistically through the artificial environment of mechanical reproduction. In his work, the splatter is the dot is the screen. The mystery of craft in painting is explored, developing richly layered surfaces through drips, splatters and removal, suggesting various screens, veils or scrims of light through which images are viewed. The paintings on the wall depict segments of cast light shaped by windows that are detached from their original source and call attention to the architecture as a canvas and screen for painting.
While Lindquist’s previous exhibition “Nonpasts” focused on a conceptually ambiguous, site specificity in architectural cement boxes and cast slabs, “You are Nature” emphasizes painting the enigmatic in the landscape, in both land and water, above and below the surface. In Lindquist’s recent scuba diving trip with his brother, he explored the world under the surface of water as inspiration for painting and models for thinking about nature. He observes, “If the 1960s were about space as a site for exploration and repository for imaginations, our final frontier is our environment. The ocean, with miles of uncharted territory and countless unexamined species and organisms, is our intergalactic fascination.” Water becomes a unifying metaphor for Lindquist’s work in terms of the surface and depth of painting.