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Underpainting is a sport of fiction. To call it so somehow distorts the timeline of a painting’s operations. One is not setting off under the blanket of night to build the walls for the house with an already weathered roof. The walls, the stairs, the wooden floors, and recessed pantries are the aforementioned and structural “under,” declared only after the fact, but always already there. Underpainting, like fiction when it performs its insidious suspension, need not be incanted. This is the state of arrival in Michael Kennedy Costa’s newest suite of paintings: we are caught unawares, already immured.
And this is the bewilderment. At 8×16,” we are alert to our bodies, floating though they may be; our feet have evaded us as our perpendicular cleaves the paintings’ horizontal. As heads scan surfaces, pleading for entry, our eyes report back to the cartesian body while our minds dive under. Somehow they can because of this two-head-scaled format. There’s a surreptitious breath their…
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Press Release
Underpainting is a sport of fiction. To call it so somehow distorts the timeline of a painting’s operations. One is not setting off under the blanket of night to build the walls for the house with an already weathered roof. The walls, the stairs, the wooden floors, and recessed pantries are the aforementioned and structural “under,” declared only after the fact, but always already there. Underpainting, like fiction when it performs its insidious suspension, need not be incanted. This is the state of arrival in Michael Kennedy Costa’s newest suite of paintings: we are caught unawares, already immured.
And this is the bewilderment. At 8×16,” we are alert to our bodies, floating though they may be; our feet have evaded us as our perpendicular cleaves the paintings’ horizontal. As heads scan surfaces, pleading for entry, our eyes report back to the cartesian body while our minds dive under. Somehow they can because of this two-head-scaled format. There’s a surreptitious breath their…
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More Exhibitions at Gene's Dispensary
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