Lynda Benglis And 6 Contemporary Artists Sculpt With Paint

Lynda Benglis

Lynda Benglis

Lynda Benglis

Lynda Benglis

Laura Moriarty

Laura Moriarty

Margie Livingston

Margie Livingston

Lynda Benglis emerged decades ago as an artist breaking barriers and shifting paradigms.  Pouring neon paints in exhibition spaces served not only as an action on the figure of the artist, but while these pieces created installations, the poured paint was also viewed and handled by Benglis as an object, and preserved as such.  Years later her poured paint artworks are preserved and installed in their original format- which presents a transformative dynamic that the artist established.

Paint has historically been used to create imagery on a foundation- canvas, wood, paper, etc.  In this common format the paint becomes an object of art only after joined with a substrate.  Benglis was a forerunner in breaking away from this.  Today there are a number of artists pushing forward on this notion, and breaking away further in the development of their bodies of work.  Artists Linda Besemer, Margie Livingston, Ryan Peter Miller, Laura Moriarty, David Allan Peters and Leah Rosenberg all create works that demonstrate the vast spectrum with which paint as a medium has been torn from the substrate and presented conceptually and physically as a substance that can be molded.

Margie Livingston recently presented a new body of work in her solo exhibit “Objectified”at Luis De Jesus Gallery in Culver City.  Having spent years casting and sculpting paint, Livingston’s portfolio demonstrates an evolved investigation into forms and space, substance and the function of the object.  In her newest work she casts and sculpts acrylic paint alone into slabs that appear as wood planks, the patterning of hues reminiscent of wood grain.  The wood-like planks, sheets and stumps are then used in the formation of minimalist sculpture.

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MARGIE LIVINGSTON Drips, Drops, Strips, And Skins

Margie Livingston’s work articulates the interaction between the architectural grid and the natural, organic world. Based on three–dimensional models that she builds in the studio, her paintings directly translate the phenomena of space, light, color and gravity upon these hybrid structures into lines and bands of color that hang seemingly suspended in space. Now, letting accident and discovery meet invention and experimentation, Livingston reverses her usual process, using paint to construct objects. Her new paint objects—built entirely from dots, strips, and skins of dried acrylic pigment investigate the properties of paint pushed into three dimensions and offer a compelling view into how the medium of paint can be used sculpturally. The sculpture featured above contains 62 layers of poured color going from dark to light.

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