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BEVERLY FISHMAN & MARKUS LINNENBRINK
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Markus Linnenbrink has worked with epoxy resin for over thirty years, and his intimate familiarity with the medium is evident in his deft manipulation of it. The work is a result of material and method, and Linnenbrink has developed distinct, intensely physical processes he calls “Drill,” “Drip,” and “Reverse” painting. Color is at the center of Linnenbrink’s practice, and his gleeful dedication to creating spectra of unexpected hues through the blending of pigments with epoxy resin drives his processes. The drip process, demonstrated in paintings such as, ITHINKIWILLCALLITMORNING, takes place when the artist pours cups of pigment from the top of the canvas allowing for ribbons of color to be interspersed on the surface. The artist repurposes accumulated layers of resin from the drip paintings to form his drills, as seen in immersive works like SLIGHTLYCRUMBLEDTRICKS. Dense with evidence of time and labor, Linnenbrink drills into the surface to reveal layers of contrasting, saturated color.
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From the outset of her four-decade career, Beverly Fishman has centered her work around the body, probing abstract investigations of disease, identity, and medicine. Since 1999, her oeuvre has propelled towards the latter, delving into the promises of pharmaceuticals as the means for a cure. Both welcoming and unsettling, Fishman’s consistent use of urethane paint on wood lures viewers toward her floating structures; their edges bevel towards the wall, reflecting the neon-painted undersides and creating an artificial glow that mimics a physical light. Both her innate sensibility for color and the sheer scale of the works demand attention that further provokes an interrogation surrounding Big Pharma and one’s relationship to the body and its current environment.
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BEVERLY FISHMAN & MARKUS LINNENBRINK
Past viewing_room
