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拍品专文
Wade Guyton’s Untitled exemplifies the painterly possibilities when process is left to chance. Created through the artist’s unique technique of connecting the digital to the manual through printing directly onto canvas, the present work is an coalescence of formalism and imperfection. With chosen tools of old computers, often faulty printers, and scanners, Guyton welcomes mechanical inconsistencies, considering them to be the record and product of the communication between art and technology. In the present work, the seemingly structured repetition of the ‘X’ motif is interrupted by running ink, overlapping forms, and an askew composition, resulting from Guyton’s process of folding the unstretched canvas in half to feed it through the printer. Through these unexpected variables, Untitled represents a spectacular representation of the mechanical failures of technology in our modern world and evidence of Guyton’s unapologetic process.
"The drips; the accidents; the ink runs out; the canvases pile up on the floor. I’m rough with them because they’re bigger than I am, and often it’s just me working alone, so I’m dragging them around. Whatever happens when I’m making them is part of the work." (W. Guyton quoted in Wade Guyton: OS, exh. cat., Whitney Museum of American Art, New York, 2012, p. 208).
Guyton attended the University of Tennessee and majored in Art History and grew to love the distortion of photographs and language, specifically drawing inspiration from artists such as Andy Warhol and Frank Stella. In 1996, he moved to New York to attend Hunter College for graduate school where he began to experiment with his signature visual language. By 2003, he had developed the technique of using illustrations from books and auction catalogs to reproduce images with printers, such as his famous X, and one year later was printing them on canvas at a much larger scale. Guyton’s practice of image manipulation and duplication is part of an art historical lineage of appropriation and postmodern aesthetics. The present work is a testament to his unique ability to transform these ideological foundations through his own iconography and process. Rooted in creative tension between the technological and the human; resistance and readiness; and repetition and variability, Untitled is the ultimate realization of Guyton’s painterly ethos.
"The drips; the accidents; the ink runs out; the canvases pile up on the floor. I’m rough with them because they’re bigger than I am, and often it’s just me working alone, so I’m dragging them around. Whatever happens when I’m making them is part of the work." (W. Guyton quoted in Wade Guyton: OS, exh. cat., Whitney Museum of American Art, New York, 2012, p. 208).
Guyton attended the University of Tennessee and majored in Art History and grew to love the distortion of photographs and language, specifically drawing inspiration from artists such as Andy Warhol and Frank Stella. In 1996, he moved to New York to attend Hunter College for graduate school where he began to experiment with his signature visual language. By 2003, he had developed the technique of using illustrations from books and auction catalogs to reproduce images with printers, such as his famous X, and one year later was printing them on canvas at a much larger scale. Guyton’s practice of image manipulation and duplication is part of an art historical lineage of appropriation and postmodern aesthetics. The present work is a testament to his unique ability to transform these ideological foundations through his own iconography and process. Rooted in creative tension between the technological and the human; resistance and readiness; and repetition and variability, Untitled is the ultimate realization of Guyton’s painterly ethos.