For immediate release
ASGER DYBVAD LARSEN - DISTORTED DATA
April 15th – May 10th
Opening Reception April 12th, 6–8 pm.
Asger Dybvad Larsen works with the transformation that happens when you press a painting, applied with wet paint, against another painting. The paintings used in the printing process are acrylic-casts of a paint tray surface structure mounted with paint on canvas. In general the paintings have a substantial focus on motif, materials, processes and themes.
Asger Dybvad Larsen's paintings are best identified with their dialectical relation to tautology and anatomy, with a reference to the post-war-period art's classic conceptual themes and traditions. This includes a reference to Ad Reinhardt and his text: “Art as Art”, where the tautology and anatomy are essential. The art of this period was a reaction to the early traditions of art – as being representative. The postmodern tautological accession towards painting is dialectically broken by Asger Dybvad Larsen in his paint tray paintings.
The break is seen in the motif of the paint tray paintings and can be seen as formalistic, but is really a reference to something from the real world, an everyday object (a paint tray), which in the end refers back to a stage in the process in the act of painting.
The transformation from a paint tray painting to a print of the paint tray casts ads a complementary layer of meta-process. This dialectical autonomy, and focus on a gesture of a meta-process, is essential in Ager Dybvad Larsen’s comprehensive thematic composition of his works. The dialectical tautology is used in an improvement of the art historical context his works are an extension of, as well as a toll to create a frame of reflection as a prolongation of the transformation in the translation of the visual data and its thematic significance.