"The painting was constructed via the accumulation of many thin (but opaque) layers built atop one another. Each painted layer was developed in ways atypically discrete: in regard to both mark and color, each application was applied irrespective of any preceding or following application of paint. The interaction of layers would not occur until a later stage, after the painting was carefully and finely sanded, with the removal of sections of the more recently painted layers exposing those below. This maneuver produced new interactions between gestures and colors that had not been in visual proximity during the application of paint.
At once the result of its own creation and an exception to itself, the entirely flat surface of the work presents illogical depths neither topographic in mark, perspectival in construction, or illusionary in association. It is a mystery (and a mastery) unto itself; it inverts processes of one-directional—and one-dimensional—accumulation or subtraction." Excerpt from John Henderson: From Model to Modal, essay by Andrew Blackley.

About The Gallery

Perrotin Seoul
Founded in Paris in 1990 by Emmanuel Perrotin, then 21 years old, the gallery has become one of the most
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