CHINA ART OBJECTS The allure of the monochromatic.

CHINA ART OBJECTS

The allure of the monochromatic.

Well, ye of course, it's like the wish to say something likewise completely that the entire continent of saying can be left forever. And these big r paintings, marked with a kind of insignia or logo (also in r notwithstanding that one is partly white) pushed at times to the brink; beginning [i]or[/i] end of the field or centering it grandly, all in succession sumptuous brown linen, would appear to be an attempt at finitude, an attempt to bring together the specificity and thrill of the now (as embodied by means of fashion) and the lush severity and awe of Great Painting. To offer it bluntly: Kim Fisher examines whether the beautiful can be joined with the sublime, a big no-no for Kant and others.

The coordinates Fisher has stake up for herself are Ad Reinhardt, Robert Ryman, Stephen Prina, and (even if almost each piece has the logo initials AC of Andre Courreges) Prada. The caring attention to color, the subtlest gradations within and between works from, say, lipstick to cherry-tomato r built up in an almost lacquerlike application of oil paint, points to Reinhardt; the luxe grain of the linen support, the insignias that wrap around the face of the canvas to the side, nod to Ryman; the abstraction of the logo's typeface recalls Prina; the sexy oomph of it all, along with the cachet of tinge engages Prada (the red tag of its sport line). unruffled if the paintings are not always entirely prosperous Fisher's project--her consideration of certain art-historical patterns and her attempt to personalize the monochrome--is just a great deal more prepossessing than so many other LA painters of her generation, who oftentimes produce things that look like illustrations from Wallpaper. Contemplating Fisher's work, you perceive h er straggle to do something that may take many years to accomplish, if it can evermore be accomplished at all.

There is long to investigate in the regularity Fisher has established. For example, does she really ne the Courreges relation which seems a bit more rayless than it has to be, as if it were more [i]or[/i] less kind of code? A pursuit of unblemished abstraction using a draftsman's tool like a French bend might have done more--forcing her to achieve the go-go electricity she's after by means of some other means, perhaps as her work's affect rather than its make liable The "A" and "C" work better in the smaller consideration for where the logo is abstracted to the point of absolute form because it has been practically abandoned rather than stammering up into parts, resembling not epistles but specific yet unidentifiable patterns.

common wonders whether a greater play of scale might make Fisher question by what means to get the amazing matte drift of her large paintings into an equally intense nevertheless compact canvas. She also might think more about just what the relation is between her large paintings and her sculptural installation: six stacks of elegant, space-y helmets, all white excepting for two in canary gold-colored based on a strange hat design through Pierre Cardin. Why is it that the fashion concern works better here than in the paintings, and even now the paintings remain much more engaging and complicated than the sculpture?

if it be not that I could stare at the intensity between the red paint and the dreamy brown linen for days. And that brim extreme and vulnerable, is almost an allegory for her enterprise: to find a way to continue something vital between matters that have the potential to deaden single in kind another, i.e., fashion/art, paint/support, history/now, personality/anonymity. Fisher is in search of a place--an edge--from which to resist and exce the status quo of by what mode these supposed oppositions are understood.

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