Christopher L. Mercier – Color {Space} Form

April 17– May 15, 2010

Opening Reception, Sat., April 17th , 6 – 10pm

‘Fortification’, 2009, 19” x 27” x 7”, oil, ink, latex, & enamel on canvas over gator board (front and side view)

INVESTIGATIONS IN AND AROUND THE STRUCTURE OF SPACE IN PAINTING, SCULPTURE AND ARCHITECTURE

“Color {Space} Form” is a creative exploration into the depiction of pictorial, sculptural and architectural space. At its heart it posits, through an act of making, a vision of contemporary space. Within Western thought, there is a long tradition of spatial development and exploration. From the early Middle Ages, through the Renaissance and up to modern time, each era's depiction/construction of space becomes a world or window into how experience is perceived. In today's global world, collapsed time, virtual reality, reality T.V. and the internet all weave a “new immediacy” where these developments act as cues in the shaping of contemporary space. My investigations into pictorial, cultural and physical space collectively seek an understanding of the effects, opportunities, and outcomes these and other cues have on contemporary spatial expression and its development.

“Color {Space} Form”, when considered in relation to my larger body of work as both artist and architect, represents a further clarification and amplification of my interest in the SPACE of artistic and inspirational experience. This project initially appears to be very similar to my previous work, “Painting Towards Form”, as it employs a similar language of color and form. Here, however, there is a focused effort to explore and exploit an exaggerated experience of 3-dimensional space within the pieces. This actual or real pictorial space becomes a contemporary translation of historical two dimensional western painting as a place for the “subject of painting to live.” This real pictorial space is achieved in two ways: first the physical construction and sculpting of the paint into organized spatial relationships (paint modeling); and second, the manipulation of the painting panel itself. While explored to a lesser degree in earlier works, these panel manipulations (recesses/protrusions/etc.) allow for the surface of the work to develop its own spatial cues and conditions; and, as a further consequence, can start to be seen as potential sites for the building of paint. With these two developments, a game appears in which panel and paint engage each other in a dialogue or a spatial dance that defines the form of the work. The result is not wholly dissimilar to the way pre-perspective and perspective paintings employed various forms of mathematical and/or other techniques (Giotto's overlapping images, the creation of linear perspective, etc.) to structurally organize pictorial space.

In addition to the spatial developments discussed above, the use of color, various paint types (oil, enamel, latex, latex enamel, Ink, etc.), states of drying, as well as various application techniques have also been explored in the work. These materials and techniques further the spatial development of the project by either enforcing conditions already in place or creating new unexpected color-relational opportunities. In particular, the relation between paint's particular drying state, its level of viscosity (solidified, semi-solidified, gel/paste, liquid, watery, etc.) and its application method including timing and positioning within a work, has been examined at length. This has led to an understanding not only of different paint types but also of their particular properties: quality of color rendition, adherence, and the 3-dimentional/textural abilities under various dried and semi-dried states. The final positioning of paint is based on the type, thickness, color, solidity and texture as well as spatial conditions already inherent/developed in the work. The intent seeks to uncover a spatial/color situation not previously apparent or expected that might provoke insight into a contemporary structure, organization, or pattern of spatial experience.

“Color {Space} Form” investigates the experience of contemporary spatial structure. It does so through a crossing of what are understood to be three different types of spatial traditions: Painting, Sculpture and Architecture. The belief is that although these three disciplines operate in different arenas of life, they actually reveal a similar spatial foundation, and it is through the overlapping of their similarities and differences that this project unveils and explores opportunities as well as deficiencies in what we experience as contemporary space. Through this unveiling, it is further assumed that alternative conceptions concerning the myriad of contemporary life may be envisioned. Additionally, more diverse and adaptable structures/patterns of contemporary space may be celebrated.

Please join us for the opening reception of this exceptional solo show Sat., April 17th, 2010, 6–10pm

Lawrence Asher Gallery is located at 5820 Wilshire Boulevard , Los Angeles , across the street from the Los Angeles County Museum of Art and adjacent to the Craft and Folk Art Museum . For more information, please call 323.935.9100

The Artists

Christopher L. Mercier was born and raised just outside Detroit, Michigan. There he completed a Bachelor of Science degree in Architecture at Lawrence University before going to study in Milan , Italy , at ‘Architecture Intermundium' under Daniel Libeskind. From there he moved to Southern California , completed a Masters degree in Architecture at SCI-ARC, and worked for various architects in Los Angeles including Frank Gehry. In 2002, he opened his own architectural practice, (fer) studio L.L.P . where he continues to work. His initial interest in architecture evolved out of his experiences as a young child fascinated by the arts. Throughout his entire life, he has consistently pursued simultaneous careers in both art (painting, sculpture) and architecture with numerous exhibits and shows. His work has always struggled to erase the separation imposed on these three disciplines by contemporary society in favor of a more ‘Renaissance' approach to spatial thinking.