Copper and Urine Painting . 2013
+ Elise Adibi . Churner and Churner
Adibi works with six-foot square canvases that avoid the connotations of landscape or portraiture, and allude to the body with their scale. In the drawings, she creates a grid, following the weave of the canvas, and traces it with graphite or fills it in with charcoal. But as the sweep of her hand carries her to the end of one line, only to start again just below, smears and smudges mark the spaces where the grid is met by its materiality. In the paintings, Adibi covers the canvas in a base of gold or copper and paints a thick impasto topped with graphite powder. This technique is a reversal of her earlier use of graphite, moving what is typically a base material to the painting’s very surface. Through the physicality of her process and the nature of her materials, Adibi finds contingency within a highly determined structure.
Churner and Churner
Canvas Colored Painting . 2013
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Untitled (Oxidation Painting) . 2013
Charcoal Drawing . 2011
+ Elise Adibi . Churner and Churner
Adibi works with six-foot square canvases that avoid the connotations of landscape or portraiture, and allude to the body with their scale. In the drawings, she creates a grid, following the weave of the canvas, and traces it with graphite or fills it in with charcoal. But as the sweep of her hand carries her to the end of one line, only to start again just below, smears and smudges mark the spaces where the grid is met by its materiality. In the paintings, Adibi covers the canvas in a base of gold or copper and paints a thick impasto topped with graphite powder. This technique is a reversal of her earlier use of graphite, moving what is typically a base material to the painting’s very surface. Through the physicality of her process and the nature of her materials, Adibi finds contingency within a highly determined structure.
Churner and Churner
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