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Email PagePicture Imperfect
March 27, 2008- April 26, 2008
Mike Childs
Heidi Cho Gallery
522 W 23rd StHeidi Cho Gallery is pleased to present Picture Imperfect, a solo show by Mike Childs in which he exhibits his most recent work.
Modern architecture is Mike Childs’ most immediate inspiration for his abstract painting. His paintings are intended to answer a fundamental question, that of the human position as it relates to architectural development. Mr. Childs’ journey has been rooted by a personal dynamic in which he searches for an answer of what abstraction means for him. He has moved from a strict geometric approach toward one which incorporates a more organic language, all the while maintaining his talents as a prolific colorist.
A birds-eye mapping of a developing land, Rolling (2007) depicts a crossroads between pathways (the journey) and the dwelling, or destination. The composition is defined by intercrossed sections and empirical roads; rivers of colors flooding the surface are filled with inversed U-shaped structures which paraphrase, in a creative and stimulating way, actual suburban developments. These areas are built using a subtle palette of color stratification. The section borders are created with an effortless technique that keeps the internal rhythm flowing and lightly contrasts with the rigid structural dwellings that proliferate throughout the planes. Rolling moves and dances in the space.
Flaventhrone (2005) can be considered a key development within Childs’ body of work, having grown out of his formal research into geometric abstraction. Its structure is based upon a relation of positive and negative values, through which Childs implements colors of varying intensity. A warm color palette associates this work with a “spring and summer” state of mind. Meanwhile, 4:30 (2008) is similarly constructed but uses a cooler palette of colors. Childs revisits the compositional structure in which geometric components of the piece are embraced by an organic form, building an internal tension and resolving it with a quieted colorist balance. Flaventhrone is infused with the joy of color and life, while 4:30 is a metaphorical reflection of that winter light that comes without consent through Childs’ studio window. It lives as an ephemeral moment, offering a natural rhythmic opening into the mysteries of the night, transgendering from yellow to purple, from gray to black. The trajectory from Flaventhrone to 4:30 completes a cycle of life translated into a sophisticated abstract language.
Niagara (2008) paraphrases the borders between nature and man-made construction. The geometrical grid is invaded by organic zones which in themselves contain additional geometric structures. The grid is worked in a unique fashion, proposing a juxtaposition of forms which complement one another, while the use of blue and other earth-based colors alludes to the geometry of nature. With Unmade (2008) Childs offers us an architectonical structure built within an organic plane, as the contention of two separate worlds that live together in the same space.
Books and DVDs related to artists in this show
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