victoria chapman writes a review for the upcoming solo exhibition in paris, france
a contemporary art review Written by Victoria Chapman
"Guffogg: Exploring Time, Space, and Identity"
Guffogg's solo exhibition, "Vibrations," CURATED BY THIERRY TESSIER, AND VICTORIA ZHONG, offers a comprehensive exploration of his artistic evolution from 2009 to 2023. Featuring a diverse collection of artworks including oil on canvas paintings, works on paper, and Murano glass series, the exhibition highlights pivotal moments in Guffogg's creative journey.
One particularly notable piece from the exhibition is "Ginevra de Benci #24," painted in 2012. This work showcases Guffogg's distinctive style, with streaming ribbons set against a rich Venetian-red background. Inspired by the color and light techniques of the old masters, the painting exudes a captivating presence, drawing viewers into its harmonious composition.
The Ginevra de Benci series, consisting of 52 paintings, serves as a precursor to Guffogg's Still Points series. Drawing inspiration from Leonardo da Vinci's painting of the same title, Guffogg's interpretation takes the viewer from the figurative to the abstract realm. While borrowing colors from da Vinci's palette, Guffogg's visual language shifts towards shape, form, and line, creating a distinct narrative independent of the original portrait.
Guffogg’s Ginevra de Benci #24, 2012 oil on canvas, 80 x 100 inches (203.2 x 254 cm)
In an interview with Thierry Tessier, the curator of Vanities Gallery, Guffogg's artistic reasoning behind the series is elucidated. Guffogg poses the thought-provoking question: "If Leonardo da Vinci were alive today, what would he paint?" This inquiry underscores the artist’s innovative approach to reimagining classical themes in a contemporary context, inviting viewers to reconsider familiar subjects through a fresh perspective.
Guffogg's exhibition "Vibrations" presents not only paintings and sculptures but also works on paper, including the rare ink-on-black paper 'still points' created in 2009. These early works hold significance as they mark the beginning of Guffogg's artistic exploration, symbolizing his quest for authenticity and self-discovery. Later works from 2020 exhibit a different flow, imbued with a sense of musicality, reflecting Guffogg's evolution and synesthetic sensibility.
At the Still Point #7, 2009 Ink on paper, 18 x 12 inches (45.7 x 30.4cm)
One standout piece from the exhibition is "At the Still Point #35," painted between 2010 and 2011. Despite facing challenges during his time at Cal Arts (1983-1985), where his traditional approach clashed with prevailing conceptual art ethos, Guffogg persevered and honed his craft. This painting, characterized by its somber Rembrandt palette, demonstrates Guffogg's mastery of light and layers of paint. The chiaroscuro effect draws the viewer towards the center of the canvas, inviting them to bask in a moment of illumination.
"At the Still Point #35" serves as a testament to Guffogg's resilience and artistic prowess, showcasing his ability to transcend obstacles and create profound works of art. Echoes from T.S. Eliot's "Four Quartets" resonate throughout Guffogg's journey, punctuating his exploration of color palettes and thematic depth. Overall, this pivotal piece invites viewers to witness the evolution of Guffogg's Still Point paintings and engage with his rich artistic narrative.
At the Still Point #35, 2010-2011, oil on canvas, 62 x 74 inches (157.4 x 177 cm)
The exhibition's title, "Vibrations," truly captures the essence of the sensory journey curated by Tessier and Zhong. Each large work, including pieces like "Inhabit the Garden," "Only Through Time is Time Conquered," and "Dahlia's Sleep in Empty Silence," immerses the viewer in a mesmerizing tapestry of sight and sensation. These artworks invite contemplation and encourage viewers to delve deep into Guffogg's artistic universe.
The 2017 painting, "Only Through Time is Time Conquered," holds a special significance as the first of its title series. Subsequent paintings, including the most recent one exhibited at Scala Contarini del Bovolo in 2023, continue to explore this theme. Notably, a musical score was composed based on Guffogg's synesthesia, further enriching the experience of viewing these artworks.
Guffogg's statement that his paintings are based on truth and what can be felt but not seen underscores the profound emotional depth inherent in his work. His art serves as a conduit for conveying intangible experiences and tapping into universal truths, inviting viewers to connect with the essence of his creations on a visceral level.
At the Still Point of the Turning world - Inhabit the Garden, 2019, oil on canvas, 78 x 96 inches (198.1 x 243.8 cm)
At the Still Point of the turning world - Only Through Time is Time Conquered, 2023, oil on canvas 84 x 108 inches, (213.3 x 274.32 cm)
At the Still Point of the turning world - Dahlias Sleep in Empty Silence, 2018, oil on canvas
84 x 60 inches, (213.3 x 152.4 cm)
The inclusion of medium-sized works such as "And They Were Behind Us Reflected in the Pool" and "In the Autumn Heat, Through the Vibrant Air" is significant in the exhibition. These pieces, though smaller in scale compared to the massive works, hold their own on the stage, showcasing Guffogg's ability to strike a balance between order and chaos.
The titles of these works, taken from T.S. Eliot's "Four Quartets," provide a thematic backdrop that explores the passage of time and the transient nature of existence. Guffogg's artistry shines as he skillfully navigates this theme, capturing the essence of Eliot's poetry within his visual compositions.
Despite their smaller size, these artworks exude a powerful energy that transcends boundaries, captivating viewers and transporting them into a realm of heightened awareness. Guffogg's ability to arrest the viewer's attention and ground them in the present moment is a hallmark of his artistry, which he perceives as wordless poems and prelinguistic thoughts.
In essence, these medium-sized works serve as poignant reflections of Guffogg's mastery of his craft and his profound ability to evoke emotion and contemplation through his art.
AT THE STILL POINT OF THE TURNING WORLD - ALL TIME ETERNALLY PRESENT, 2016, OIL ON CANVAS, 60 X 48 INCHES, (152.4 X 122 CM)
At the still point of the turning world - And They Were Behind Us Reflected in a Pool 2023 oil on canvas, 73 x 60 inches (185.4 x 152.4 cm)
At the still Point of the turning world - In the Autumn Heat, Through the Vibrant Air, 2018, oil on canvas, 60 x 48 inches (152.4 x 121.9 cm)
The "Bay of Naples" paintings featured in the exhibition at Vanities Gallery are a testament to Guffogg's exceptional craftsmanship and his ability to infuse his artwork with personal experiences and profound symbolism. Inspired by his encounters along the Bay of Naples, where the coastline is characterized by the interplay of light and form reflecting off the water and boats, these paintings offer a unique glimpse into Guffogg's artistic vision.
Interestingly, Guffogg chose to revisit the structure of his earlier Pattern paintings from the 90s for this series, a departure from the Still Points series he embarked on in 2009. This decision reflects a mysterious impulse within the artist to explore familiar themes in a new context. The Pattern paintings are based on intricate patterns that echo a specific ratio of shape and line, repeated in a rhythmic manner akin to reciting a mantra. This repetition, layered within roughly 60 to 80 layers of paint, symbolizes a deeper illumination within the artwork.
The patterns in these paintings serve as a conduit for Guffogg to share his own conscious and subconscious moments with the viewer, transcending traditional notions of time and space. Each layer of paint adds complexity and depth to the patterns, inviting viewers to contemplate the transient nature of existence and the interplay between conscious and subconscious thought.
In essence, the "Bay of Naples" paintings represent a profound exploration of Guffogg's inner landscape, where personal experiences merge with artistic expression to create works of enduring beauty and meaning.
The Bay of Naples I, 2021, oil on canvas, 72 x 95.5 inches, (182.8 x 242.5 cm)
Guffogg's "A Rose is a Rose is a Rose," unveiled in 2019, holds a central place in the exhibition. Inspired by Gertrude Stein's iconic phrase, the painting delves into the intricacies of identity and perception. With its rich palette of red hues and intricate swirling patterns, this captivating work captivates viewers and transports them into a timeless realm of consciousness.
The phrase "A Rose is a Rose is a Rose" is often interpreted as a meditation on the essence of things, suggesting that an object is what it is, regardless of how it is perceived or labeled. In this painting, Guffogg explores this theme, inviting viewers to contemplate the nature of identity and the interplay between perception and reality.
The rich red tones in the painting evoke a sense of passion and intensity, while the swirling patterns add a layer of complexity and depth. As viewers engage with the artwork, they are drawn into a mesmerizing journey of self-reflection and introspection, where the boundaries between the self and the external world begin to blur.
Ultimately, "A Rose is a Rose is a Rose" leaves an indelible impression upon viewers, inviting them to ponder the complexities of identity and existence. It serves as a poignant reminder of the power of art to provoke thought, evoke emotion, and transcend the boundaries of time and space.
AT THE STILL POINT OF THE TURNING WORLD. - THE PAST HAS A PATTERN AND CEASES TO BECOME A MERE SEQUENCE, 2018, OIL ON CANVAS, 42 X 42 INCHES, (106.6 X 106.6 CM)
A Rose is a Rose is a Rose, 2019, oil on canvas, 42 x 42 inches, (106.6 x 106.6 cm)
AT THE STILL POINT OF THE TURNING WORLD -DAHLIAS SLEEP IN EMPTY SILENCE II, 2018, OIL ON CANVAS, 42 X 42 INCHES (106.6 X 106.6 CM)
The inclusion of Guffogg's Murano glass creations in the exhibition at Vanities Gallery adds another layer of depth and richness to the showcase. One standout piece, "Return to Tomorrow," also known as "Ritornu dal Domani," is a testament to Guffogg's fascination with quantum physics and his continuous exploration of time and space.
Inspired by the captivating interplay of light and water in Venice, Guffogg embarked on a series of pastels titled "Lumen Lapses," which, while not on display at this exhibition, undoubtedly inform his Murano glass creations. "Return to Tomorrow" represents a poignant exploration of form and the transient essence of light, showcasing Guffogg's mastery of materials and his ability to transcend conventional artistic boundaries.
"The Fifth Sound," another captivating Murano glass creation featured in the exhibition, further exemplifies Guffogg's innovative approach to art. By incorporating elements of light, form, and space, Guffogg invites viewers to contemplate the interplay between the physical and the metaphysical, the tangible and the ephemeral.
Return to Tomorrow (Ritornal al domani) Murano glass, 2019, 32 X 12 X 12 INCHES EDITION OF 3 + 1 AP
For European art enthusiasts, this exhibition presents an unmissable opportunity to experience Guffogg's diverse body of work and immerse themselves in his profound exploration of art, science, and spirituality. Through his Murano glass creations, Guffogg offers viewers a glimpse into the boundless possibilities of artistic expression and the transcendent power of creativity. - victoria chapman may 20, 2024
the exhibition: shane guffogg: “vibrations” is on display from May 30 - June 30, 2024 visit vanities gallery for more information at: https://www.vanitiesgallery.net
At the Still Point #2, 2009 Ink on paper, 18 x 12 inches (45.7 x 30.4cm)
THE BAY OF NAPLES II, 2021, OIL ON CANVAS, 40 X 30 INCHES, (101.6 X 76.2 CM)
take a deeper exploration in a conversation between guffogg and curator Thierry Tessier on vc projects podcast
