Evan Nesbit

Cellophane Grip

23 East 73rd St

September 13 – October 28, 2017

Evan Nesbit
Manifold Painting (Primary Colors)
2017
Acrylic and inkjet print on vinyl
62 x 46 inches (157.5 x 116.8 cm)
Signed, titled, dated on reverse
ENe 170

Evan Nesbit
Manifold Painting (Automatt)
2017
Acrylic and inkjet print on vinyl
30 x 18 inches (76.2 x 45.7 cm)
Signed, titled, dated on reverse
ENe 187

Evan Nesbit
Porosity (New Dissonant Realities)
2017
Acrylic, dye, and burlap
84 x 84 inches (213.4 x 213.4 cm)
Signed, titled, dated on reverse
ENe 194

Evan Nesbit
Manifold Painting (Vegetable Feelings 2)
2017
Acrylic and inkjet print on vinyl
53 x 37 inches (134.6 x 94 cm)
Signed, titled, dated on reverse
ENe 173

Van Doren Waxter is pleased to announce Evan Nesbit: Cellophane Grip, a solo exhibition of new works by Evan Nesbit, on view September 13–October 28, 2017 at the gallery's 23 East 73rd Street location. The show features four acrylic-on-burlap paintings from Nesbit’s Porosity series, as well as six paintings from his Manifold series made using acrylic and ink jet on perforated vinyl fabric. Presenting these two bodies of work together for the first time, the exhibition explores the artist’s investigation into texture and material in a practice that engages how the body mediates surfaces and the tensions they contain. Accompanying the show is a fully illustrated catalogue with an essay by Alex Bacon.

 

Both series are ongoing projects for Nesbit, reflecting his resistance of monoscopic modes of perspective and appeal to an embodied sense of vision. In Nesbit’s Porosity paintings, he squeegees vibrant acrylic paint through the verso of dyed burlap, which is cut into irregular pieces and re-sewn into dynamic grid-like compositions. As he pushes the paint through the pores of the fabric, swaths of tactile protrusions emerge out of the substrate in a chiastic reordering of elements. Variations in both the density of the acrylic and the intensity of pressure in which it is applied create subtle shifts in three-dimensional texture. Nesbit’s Porosity series pulsates with tactile energy.

 

Building off of the set of concerns established in his Porosity series, Nesbit’s Manifold paintings are similarly made by manipulating acrylic paint through the backside of vinyl screen prints. Whereas in Porosity the paint is distributed in a more ubiquitous, expressive fashion, in Manifold it is applied in a controlled and mechanical manner that isolates and masks particular regions of the photographic image, employing a more chromatically varied palette. Compressing and collapsing pictorial space and material presence into one surface, Nesbit’s Manifold paintings comprise  a suite of dense, haptic images that promotes multiplicitous ways of viewing.

 

Nesbit's practice references the Capitalist Realism of Sigmar Polke; the Gutai works of Kazuo Shiraga and Shozo Shimamoto; the Arte Povera of Alberto Burri; Supports/Surfaces artists André-Pierre Arnal and Patrick Saytour; as well as the Neo-Geometric Conceptualism of his former Yale professor Peter Halley.