BLACK LEDGER
A clipped vocabulary of black crossings turns repetition into pressure. Each unit is nearly alike, yet the brush refuses mechanical sameness: edges fray, pigment thins, and overlaps deepen into small fields of opacity. Across the tilted white support, the marks form a loose grid whose gaps become as active as the paint. The larger bands at the margins shift the composition from notation toward an improvised painted object, with tape-like gloss set against absorbent paper. Monochrome here is not absence but calibration: black changes through drag, density and light, while serial order remains vulnerable to the hand.
RELATED ARTISTS
Antoni Tàpies
The blunt, sign-like crossings recall Antoni Tàpies’s use of matter, abrasion and symbolic marks.
Lee Ufan
Its measured intervals share an affinity with Lee Ufan’s paintings, where repetition records bodily pressure and duration.
FURTHER READING
The Love of Painting: Genealogy of a Success Medium — Isabelle Graw
The Infinite Line: Re-making Art after Modernism — Briony Fer
RELATED CONCEPTS
- Seriality
- Figure–ground tension
- Indexical mark-making
