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Evan Levine

Page 1 | Biography

Entanglements – Ben Bunch, Evan Levine
October 23 – December 05, 2010
The Proposition, New York

“In order to push the limitations of my seemingly systematic process, I play with color and shape as a solution to any confines, giving richness to the painting that fights my often heavily systematic approach. The fluid shapes in these paintings are translated into graphic, flat sections of color yet they retain an organic flow that contrasts them sharply with the strict geometry of the horizontal or vertical bands in a graph. These shapes reflect a very direct kind of mark-making that is intended to give the paintings a personal, hand drawn quality which lends the paintings a unique character-adding irregularity and randomness to the paintings. The way in which the paint is applied is neat and maintains a sort of sterile artifice, however upon closer observation there are clear inconsistencies and fractures in the surface of the final painting that clearly reveal the object as handmade.

Repetition is also something I wanted to explore thematically in this work-how it may generate a further connectedness between and/or overlapping systems created from the shapes in the paintings to spaces, things, or places in the visible world. Because of the greater density in details in the painting, it is much more difficult to define or distinguish between figure and ground. The color, flat patterns, and playful quality in my work may be subconsciously rooted in my early interest in textiles, ancient imagery, patterned and color-striped clothing (including men’s formal and knit wear, sweaters), children’s books (particularly mythology) and early video game imagery.

“Center Sand” was an attempt to explore my continued interest to explore the construction of space through an illusion of layering. It is the second painting in which text is eliminated and the work is completely abstract. Here there are clearly sectioned off areas, such as a few dense areas of dots, which interact less with other elements of the composition than in my other painting in this show.

In “Leopard” a much higher frequency of visual information in terms of color and form are used to combat the mechanical nature of the process. The composition itself becomes chaotic and as the forms become smaller, they are less isolated from one another. This painting really came as an attempt to add fluidity and life to my painting, despite the very self-conscious mechanical process by which I work. This painting is almost like a microscopic section of “Center Sand,” then blow up. If “Center Sand” were an overhead Google Map of a place, than “Leopard” would be a few steps zoomed in so that more richness of detailed and complexity is made visible.”

Evan Levine
New York, NY
New York
North America


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The Proposition, New York
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