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Solo show: Peter Alexander (over)

1 August 2012 until 24 August 2012
  Peter Alexander
Peter Alexander, Lime Bar, 2010 cast polyester resin, 60 x 5.5 x .75 inches
 
  212GALLERY

212GALLERY
525 East Cooper Avenue
Aspen, CO 81611
USA (city map)

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tel +1 970 - 925 71 17
www.212gallery.com


212GALLERY is pleased to present resin works by Peter Alexander.

To crystallize water, mist, haze, smog or fog, cut out a shard and show it as art, that is a Peter Alexander creation. Fixing and deflecting illumination, Alexander manifests the shadows of the ethereally immaterial (or at least not solid), capturing in object form the endless fluidity of gaseousness. Using resin he makes precise shapes with waxy textures in juicy and densely pigmented colors that pale by degree towards top or bottom, almost to the disappearing point. The artist's focus on expressing air and light is a driving force throughout his work, related to his early training under Louis Kahn, and an apprenticeship with Richard Neutra. A foundation in building design and particularly the intersection of planes of glass is a formative reference, abetted by an immersion in marijuana, the beach and most importantly, what breaks just off shore. Fellow traveler Miki Dora once said, "Waves are the ultimate illusion. They come out of nowhere, instantaneously materialize and just as quickly they break and vanish. Chasing after such fleeting mirages is a complete waste of time." Mr. Malibu's observation is the starting point for Alexander's quest to overcome that futility in an attempt to apprehend ineffable images.

Whether a Lime cylindrical "bar," a slow red drip verging on Italian ice slushy pink, another shaft of dark forest green, and a diptych of two grey rectangles that hypnotically fade to the evocation of shimmering water, these corporeal apparitions mimic how brightness plays on liquid so well the viewer is transported to idyllic summer days by the pool. Or, can imagine lying submerged on the bottom contemplating the sky through Adam's Ale. Cubes, rods, and flat planes catch those transient moments as sculptures, becoming landscapes minus the land, resplendent of the unique luminescence intrinsic to the City of Angels. And not only do they have aesthetic merit, there is also a revolutionary historical aspect to their inception, because when Alexander began using it resin as a plastic certainly wasn't worthy of high art. Beginnings in anti-art, though now they've joined the pantheon, and his pioneering moves made it possible for other materials to be validated along with a ratification of his negation of formal and material limits. With a nod to Vermeer, whose captivating interior milieus Alexander credits with "an absolute silence and emptiness in this very full, frozen atmosphere," his own desired effect is heightened when the viewer becomes engaged by moving around, changing position, and accepting an open invitation to experience the sensation of viewing light stopped in an inanimate but lively thing. With jaw-dropping color as a central aspect, these new pieces are a transformative mix of fuzzy blur and crystalline underpinnings in which the wholly natural and the manmade exist in sublime simultaneity.

Peter Alexander has been exhibited internationally in over 70 solo exhibitions and more than 200 group exhibitions in galleries and museums. His work resides in the permanent collections of over fifty institutions world wide, including the Museum of Modern Art (New York) and the Guggenheim Museum (New York).

Opening Reception: 1 August 2012 6-9PM

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