bradley rubenstein requiem set: peter's shadow

mark verabioff helen keler and another abled woman (in the project room)

April 5 - 27, 2002 opening reception: friday, april 5th, 5:30 to 7:30 pm

bradley rubenstein . requiem set: peter's shadow. 2002 . installation view

"It was revealed to me that those things are good which yet are corrupted which neither if they were supremely good nor unless they were good could be corrupted." James Joyce

"The will to a system is a lack of integrity." Friedrich Neitzsche

Bradley Rubensteinís recent series of paintings, Requiem Set: Peterís Shadow, continues Rubensteinís meditation on the loss or myth of innocence. Weaving together the J.M. Barrie classic story of Peter Pan with studies of Vedic practice, contemporary psychological theory, scientific method and a conceptual exploration of the materials and history of painting, Rubenstein creates in these works his own populace of Neverlandóimages of children trapped in adult bodies and depicted in various states of evolution, decline and decay.

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bradley rubenstein . requiem set: peter's room #1 . oil on canvas . 70" x 50" . 2002

Phalluses are embedded with anamorphic skulls, for example, suggesting simultaneously virility and death. Similarly, a child's teardrop refers to mourning and lament as well as a traditional gang initiation tattoo. All rendered in lead-based black oil on canvas (lead is a substance well-known for its latent toxic effects on children) and painted in combinations of carbon (the basic element of the human body), Rubensteinís figures are determined by an arcane painting process, though originally conceived through photographic and computer imaging programs.

 

bradley rubenstein . requiem set: peter's room #3 . oil on canvas . 70" x 50" . 2002

 

The figures float on grounds of color made from semi-precious pigments (Malachite and Lapis Lazuli) in the manner of religious icons, suggesting a world beyond the material. Like Joseph Beuysí seminal performance "How to Explain Painting to a Dead Hare" , Rubenstein seeks to create an art that expresses wonder and terror at the same time, while acknowledging the existential futility of that pursuit.

Los Angeles based artist, Mark Verabioff's project room installation, "Mark Verabioff, Helen Keler and Another Abled Woman", simultaneously invokes the artist and two media mega-superstar feminist icons. The artist says that by employing text (museum-style vinyl lettering) dartboards and darts, with usurped quote by madonna, he brings into question the inversion of identity (myself and Helen/Helen and Madonna). An available editioned piece based on Tracy Emin's work further ignites a critique of Emin's bad capitulated practice of seventies feminist art, and the male artist's role in this dialogue

mark verabioff . untitled dartboard (helen) . 20 widdy darts, vinyl, spray paint . dim. var. with installation . 2000/2002

mark verabioff . untitled dartboard (madonna) . 20 widdy darts, vinyl, spray paint . dim. var. with installation . 2000/2002

 

 

for more information please contact the gallery at 617 695-0255