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NEW YORK, 9.-27. JULI 2014
PAGES OF AN EVOLUTION
ABOUT RISING AND FALLING
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ARTIFACT is pleased to announce Pages of an Evolution, a solo exhibition of new work by a Norwegian artist Jon Aslak Fintland. An opening reception for the artist will be held on Wednesday July 9, from 7 to 9 PM.
As we explore the remarkable stone sculptures by Jon Aslak Fintland, we see that they contain a level of resistance that removes them from merely agreeable work that purports to detail quotidian activities in a sensitive way. The formal qualities, that is the artist's articulation of volume and mass in space, arise out of a primary intention to wed universalizing tendencies and containing impulses. They are engendered through the artist's firm realization of sculptures’ expressive capacities. These somewhat antithetical desires lend a note of intensity to his overall oeuvre, which also includes wood sculpture.
It is quite clear that Jon Aslak Fintland has involved himself with the careful scrutiny of the world of nature around him. Hours of meticulous observation have evidently been taken in for the artist to capture natural landscape from various vantage points of his native Norway. His work involves a fragile synthesis: it draws together his powers of observation as well as those of his singular intelligence. Together they re-construct and interprete the world through the creative action of his imagination.
What is most evident however in Fintland’s sculptures is that while Nature is used as the key source it is also seen as the manifestation of a unifying spirit that precedes and often precludes the observer. It is in a word a transcendent reality removed from the everyday, away from the prosaic. The here and now is made otherworldly and eternal. The tradition of nature inspired art involves the premise that versimilitude or mimetic reality is the basis upon which we experience the sense of self. The eye then is the great Overseer; it lays down the law of what is considered “real” or not. This Law of the Real dominates over the emotions or pure sensations.
One of the keys to appreciating Fintland’s work is to see how it courses through these simultaneous and conflicting intentions. The primary qualities of permanence and energy implicit in the artist’s realm of the imaginary are no less extraordinary than his commitment to the somber realm of order related to the natural environment. In such works as Worm, Female, Zig Zag III the artist refers to natural shapes and structures which reside in a world of hybridity subject to laws of growth and mutation.
Jon Aslak Fintland’s delicate stone amalgamations with their carefully modulated surfaces are the product of a systematic and scrupulous eye. They bear down on two primary impulses. The first is a response to the complex entanglements of the natural world. The second is a celebration of the mysteriousness in the web of intricacies that keeps it together.
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