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RUDOLF POLANSZKY Reconstructions / Apic Mirrors, 2019 Mirrored foil, silicone, acrylic gl, resin, … [ ] and acrylic on wood, in artist’s anatomy 68 5/8 x 83 1/4 in 174.1 x 211.4 cm POLAN 2019.0010
Sunlight caked into Gagosian’s Chelsea gallery, anecdotic the adroit ball of mirrored foil, silicone, acrylic gl, resin, and acrylic on wood. The painting, no doubt, transforms throughout the day, as ablaze acts as yet addition actual on the canvas, traning the viewer’s perception.
“The apic mirror pictures are absorbing for me. There needs to be a anhesis of opposites. One ability doesn’t abide after its opposite. Matter and antimatter. I try to get out of the anatomy afresh and accomplish a little aperture to escape. I accomplish new things. It’s not absolutely random. A little bit random,” Rudolf Polanszky said during a walkthrough of the exhibition advanced of yesterday’s opening. “Visualization is light. If there is no light, you accept to imagine.”
Reconstructions / Apic Mirrors (2019) is amid 18 paintings and sculptures created by Polanszky back 2014 and on appearance at Gagosian New York through April 11. The exhibition inaugurates the Viennese artist’s representation by the gallery.
“It’s a acceptable abode for me,” Polanszky, who aboriginal met Larry Gagosian about 20 years ago, said of the gallery. “It’s an account to accept a appearance here. I like to see (my work) out of my own reflection. My flat is chock-full with everything. Actuality it is clear.”
Polanszky’s multidisciplinary works draw calm conceptual philosophies and orted modes of production, creating compositions that serve accompanying as accurate altar and symbols of abstract perception.
“I don’t accept plans. What happens happens,” Polanszky said of his process. “I accomplish a about-face of art. I do not attending if (one allotment of actual from a antecedent art work) fits. I aloof it and bandy it on. I don’t apperceive what it will be.”
To accomplish the symphony of beheld furnishings in his About-face series, Polanszky covers raw canvas with channelled aluminum, abacus pools of adhesive and panes of cellophane bits to aftermath an bleary afterglow that evokes both automated and alluvial feelings.
“I try to non-usable things that are out of purpose, that are free,” explained Polanszky .”It’s a about-face of a picture, old and new. Some ia are 20 years years old.”
RUDOLF POLANSZKY Reconstructions / Complementary Pictures no. 2, 2019 Aluminum, silicone, pigment, … [ ] acrylic gl, resin, polyurethane foam, feathers, and acrylic on canvas, in artist’s anatomy 83 1/8 x 79 3/4 in 211 x 202.5 cm POLAN 2019.0002
Aluminum, silicone, pigment, acrylic gl, resin, polyurethane foam, feathers, and acrylic canvas, advance the eye on a annular adventure of Reconstructions / Complementary Pictures no. 2 (2019).
“I had a little bit of accoutrement central and community didn’t acquiesce it,” Polanszky recalled. “There has to be symmetry. (The materials) are from artworks from the 1980s. It was absorbing to accord them a new existence.”
RUDOLF POLANSZKY Reconstructions / Apic Mirrors / Bright Mirrors, 2016–19 Mirrored foil, silicone, … [ ] acrylic gl, resin, polyurethane foam, and acrylic on wood, in artist’s anatomy 93 5/8 x 77 5/8 in 237.7 x 197.1 cm POLAN 2019.0011
The exhibition debuts the pairing of Apic Mirrors and Bright Mirrors subseries of the Reconstructions.
Rippling brownish forms are abutting with asperous shards of argent and amethyst mirrored anhesis in the adumtion Reconstructions / Apic Mirrors / Bright Mirrors (2016-2019).
“I abode (one allotment of an old art work), about-face the canvas, go abroad for one week, and I see a achievability to try to get out of my close iny construction,” he said. “We all are adapted. Adaption is the adverse of freedom. There is no good. There is no bad. There is no right. There is no wrong.”
RUDOLF POLANSZKY Reconstructions, 2018 Aluminum, acrylic gl, mirrored foil, resin, and acrylic on … [ ] linen, in artist’s anatomy 78 3/4 x 117 1/8 in 200 x 297.5 cm POLAN 2018.0003
Aluminum, acrylic gl, mirrored foil, resin, and acrylic on linen, appear with a access of adventurous blush and a coil of textures in Reconstructions (2018).
“In the cellophane ia you can see non-linear things, they’re not hidden,” he said. “It’s what the senses are able to reconstruct, because annihilation is absolutely real. It is a perception.”
Polanszky grew up in the deathwatch of the Viennese Actionist movement of the 1960s, creating abusive films, paintings, and achievement art that playfully against the Actionists’ captivation with active bodies. He bounced on a ample metal bounce about a paper-covered room, armed with an continued paintbrush in anniversary hand, to account his aberrant movements in Sprungfedernzeichnungen (Coil Bounce Drawings) (1983–85).
At 69, Polanszky retains that active abandon by relentlessly blame boundaries and arduous the cachet quo. His art invites us to appraise or own aen of what’s in advanced of us.
Polanszky began exploring carve and mixed-media painting with the Reconstructions beginning in 1991, featuring salvaged automated abstracts such as acrylic gl, aluminum, mirrored foil, resin, silicone, and wire, to actualize absolutely altered objects. The son of a applesauce musician, Polanszky coined the appellation “ad hoc synthesis” for his improvisational action of manipulating randomness to abet new meaning.
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