Cris Worley Fine Arts will present their second solo exhibition with Robert Lansden. The exhibition will feature 11 new works on paper.
Over the course of his career, Lansden has quietly engaged in a minimalist approach to the question of new media in contemporary art through his meticulous drawings rendering data graphed from spontaneous algorithms. His work is characterized by a resemblance to computer-generated works on paper that give the illusion of warps in the fabric of space-time. Viewers are fascinated and awed to discover that each mark is not artificial, but created solely by the hand of the artist in ink, gouache, or watercolor.
In this exhibition, Lansden expands his exploration of generative web-like patterns to include images of highly ordered architectural systems. Drawings like Arranging Time #2 (2018), and Surrender (2018), adhere to strict rectilinear borders that establish visible axis of symmetry, and retain the highly disciplined quality characteristic of Lansden’s body of work. These new works evoke the layered decorative stonework in powerful geometric design programs found in the Gothic cathedrals of Western Europe, step-wells in the Indian subcontinent, and pyramids around the globe. The careful contemplative process necessary to create these tactile compositions can pull viewers into an almost trance-like state. Lansden’s deliberate approach to the medium of drawing maintains a strong connection to the legacy of conceptual artists like Agnes Martin and Sol Lewitt.
Following the opening reception, the exhibit will be on view through June 23.
Cris Worley Fine Arts will present their second solo exhibition with Robert Lansden. The exhibition will feature 11 new works on paper.
Over the course of his career, Lansden has quietly engaged in a minimalist approach to the question of new media in contemporary art through his meticulous drawings rendering data graphed from spontaneous algorithms. His work is characterized by a resemblance to computer-generated works on paper that give the illusion of warps in the fabric of space-time. Viewers are fascinated and awed to discover that each mark is not artificial, but created solely by the hand of the artist in ink, gouache, or watercolor.
In this exhibition, Lansden expands his exploration of generative web-like patterns to include images of highly ordered architectural systems. Drawings like Arranging Time #2 (2018), and Surrender (2018), adhere to strict rectilinear borders that establish visible axis of symmetry, and retain the highly disciplined quality characteristic of Lansden’s body of work. These new works evoke the layered decorative stonework in powerful geometric design programs found in the Gothic cathedrals of Western Europe, step-wells in the Indian subcontinent, and pyramids around the globe. The careful contemplative process necessary to create these tactile compositions can pull viewers into an almost trance-like state. Lansden’s deliberate approach to the medium of drawing maintains a strong connection to the legacy of conceptual artists like Agnes Martin and Sol Lewitt.
Following the opening reception, the exhibit will be on view through June 23.
Cris Worley Fine Arts will present their second solo exhibition with Robert Lansden. The exhibition will feature 11 new works on paper.
Over the course of his career, Lansden has quietly engaged in a minimalist approach to the question of new media in contemporary art through his meticulous drawings rendering data graphed from spontaneous algorithms. His work is characterized by a resemblance to computer-generated works on paper that give the illusion of warps in the fabric of space-time. Viewers are fascinated and awed to discover that each mark is not artificial, but created solely by the hand of the artist in ink, gouache, or watercolor.
In this exhibition, Lansden expands his exploration of generative web-like patterns to include images of highly ordered architectural systems. Drawings like Arranging Time #2 (2018), and Surrender (2018), adhere to strict rectilinear borders that establish visible axis of symmetry, and retain the highly disciplined quality characteristic of Lansden’s body of work. These new works evoke the layered decorative stonework in powerful geometric design programs found in the Gothic cathedrals of Western Europe, step-wells in the Indian subcontinent, and pyramids around the globe. The careful contemplative process necessary to create these tactile compositions can pull viewers into an almost trance-like state. Lansden’s deliberate approach to the medium of drawing maintains a strong connection to the legacy of conceptual artists like Agnes Martin and Sol Lewitt.
Following the opening reception, the exhibit will be on view through June 23.
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