Kasmin opens an exhibition of new work by painter Liam Everett

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Kasmin opens an exhibition of new work by painter Liam Everett
Liam Everett, Untitled (the renouncer), 2021. Ink, oil, sand on primed linen, 79 x 60 inches, 200.7 x 152.4 cm. Courtesy of the artist and Kasmin, New York.



NEW YORK, NY.- Kasmin is presenting an exhibition of new work by painter Liam Everett, who has joined the gallery’s roster of artists. On meeting again will be on view until November 13, 2021, at 297 Tenth Avenue and 514 West 28th Street, bringing together 11 large-scale works that demonstrate the artist’s distinctive abstract mixed-media painting. Everett’s experiments in the development of a self-sustaining studio practice see him employing a process of steadfast and repetitious application and erasure, using non-traditional methods to apply—and caustic substances to remove—painstakingly developed layers of paint and composition. A catalogue, featuring a conversation with Everett, will be published in tandem with the exhibition.

The artist’s recent relocation back to Northern California has proved a catalyst for Everett’s engagement with the alchemy of the natural environment, as well as theories concerning biodynamic agriculture, pre-industrial working tools, and ancient approaches to fertilization that engage the moon cycle. These emerge in the work as metaphors for the interactive properties of the substances Everett applies to the canvas—how they counteract, preserve, or react to one another. In this way, Everett’s investigative procedure, laser-focused on the subtle behavior of his materials, becomes akin to a scientific assaying of chemical and mineral substances, working to determine purity, viability, and the limits of stability. As well as their biological and chemical referents, the works are rendered in primary palettes that recall early internet design and the RGB (red-green-blue) color designation, mimicking a nostalgic conception of a once-imagined digital future.

On meeting again takes its title from Section 321 of Frederik Nietzsche’s The Gay Science, a text often described as the most poetic of the thinker’s oeuvre and one that has as its subject the importance of a rigorous practice in the disciplined quest for knowledge. Everett’s work conceptualizes the dance between inherent and inherited knowledge, as well as the ways in which we interpret and reapply theories of our species’ existence and survival. These subjects, situated at the center of the exhibition, are ones to which we might feel keenly attuned at this juncture in history.

Everett is attentive to ideas of authorship and the attempt to shed a conscious role while working in the studio. Through the partial repetition and reworking of compositions across multiple works simultaneously, a suite of paintings might recall the inverted musical form of variations on a theme. He is prone to imposing physical obstructions that demand exaggerated levels of adaptation and effort, recalling the straight-faced farce and gesturality of absurdist theatre. As Everett brings the body into the problem-solving inherent in art-making, destabilizing and actualizing all at once, the studio space becomes akin to a rehearsal space in which progression and perpetual motion never quite reach a reliable resolution. The toil of this circuitous working method is imbued in the work, revealing itself on the canvas as a complex material and metaphysical depth.

The distillation of the studio’s physical and ephemeral characteristics constitutes an important aspect of the artist’s practice. That which finds expression as work on canvas originates as the inherent dimensions of the structure of the space, the proportion of a window, direction of its light, and the makeshift tools found nearby or inside. Time spent in the studio corralling these native elements, and learning their individual insistences on translation through the work, acts as Everett’s primary vehicle for developing its direction. In this way, what remains is an indexical record of the artist’s labor and practice.

This is Everett’s second solo exhibition at Kasmin. The first, Cura, staged in 2011, presented a group of work which the artist named his “eclipse paintings.”

Born in 1973 in Rochester, New York, Liam Everett lives and works in Northern California. This is the artist’s second solo exhibition at Kasmin. His work has been included in exhibitions at the San Francisco Museum of Modern Art; the Biennale of Painting, Museum Dhondt-Dhaenens, Deurle, Belgium; U.C. Berkeley Art Museum and Pacific Film Archive; San Jose Institute of Contemporary Art; CCA Wattis Institute for Contemporary Arts, San Francisco. Everett is the recipient of the SECA Art Award at the San Francisco Museum of Modern Art (2017), the Richard Diebenkorn Teaching Fellowship at the San Francisco Art Institute (2013) and the San Francisco Artadia Award (2013). Everett’s work is included in significant international public collections, including the Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; Dallas Museum of Art; Musée des Beaux-Arts, Rennes, France; Fondation Carmignac, Paris; Kistefos Museum, Jevnaker, Norway, and U.C. Berkeley Art Museum and Pacific Film Archive.










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