Kal Mansur, Dark Green Land - Escape Cobalt One, 60" x 60"
Medium: Acrylic and resin on panel
Year: 2022
Size: 60" x 60" x 2"
Kal Mansur employs a palette knife to build a textured terrain from several impasto layers of paint. The surface is then washed over with translucent glazes, with liquid pooling in valleys and falling away over edges. This process builds and subdues color, resulting in a monochromatic mass. Embedded circular resin sculptures inundate the work with changing reflections. What emerges is a painting that starts to bloom as one walks around it. What were once muted circles begin to gleam – they are beacons that turn off and on. Their surfaces are paradoxical: waxy yet reflective, the circles both mirror and obscure the viewer. Here Mansur mines the possibilities within abstraction, making a case for its plural nature by creating potent modes of interference in painting.
Medium: Acrylic and resin on panel
Year: 2022
Size: 60" x 60" x 2"
Kal Mansur employs a palette knife to build a textured terrain from several impasto layers of paint. The surface is then washed over with translucent glazes, with liquid pooling in valleys and falling away over edges. This process builds and subdues color, resulting in a monochromatic mass. Embedded circular resin sculptures inundate the work with changing reflections. What emerges is a painting that starts to bloom as one walks around it. What were once muted circles begin to gleam – they are beacons that turn off and on. Their surfaces are paradoxical: waxy yet reflective, the circles both mirror and obscure the viewer. Here Mansur mines the possibilities within abstraction, making a case for its plural nature by creating potent modes of interference in painting.
Medium: Acrylic and resin on panel
Year: 2022
Size: 60" x 60" x 2"
Kal Mansur employs a palette knife to build a textured terrain from several impasto layers of paint. The surface is then washed over with translucent glazes, with liquid pooling in valleys and falling away over edges. This process builds and subdues color, resulting in a monochromatic mass. Embedded circular resin sculptures inundate the work with changing reflections. What emerges is a painting that starts to bloom as one walks around it. What were once muted circles begin to gleam – they are beacons that turn off and on. Their surfaces are paradoxical: waxy yet reflective, the circles both mirror and obscure the viewer. Here Mansur mines the possibilities within abstraction, making a case for its plural nature by creating potent modes of interference in painting.
