MARCH 16 – APRIL 14, 2007
513 WEST 20TH STREET, NEW YORK, NY 10011
March 16th – April 14th, 2007
Opening Reception: Friday, March 16th, 2007, 6 – 8 pm
Opening on March 16th, 2007, Jack Shainman is pleased to present an exhibition of new paintings by British-born, Las Vegas-based artist Tim Bavington. Later this year, Bavington will be included in the group exhibition entitled Diaspora at the Las Vegas Art Museum, Las Vegas, NV curated by Dave Hickey. He has participated in numerous group shows, including Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, NY (2005); Specific Objects: The Minimalist Influence, Museum of Contemporary Art San Diego, CA (2004); New in Town, Portland Museum of Art, Portland, OR (2002); Neo Painting, Young Eun Museum of Contemporary Art, Kwangu-City, Korea (2002); The Magic Hour: Dir Konvergenz von Kunst Und Las Vegas; and Ultralounge, University of South Florida Art Museum of Contemporary Art, Tampa, FL (2000). And DiverseWorks Artspace, Houston TX (1998). This will be Bavington’s second solo exhibition at Jack Shainman Gallery and will include several new, large-scale canvases.
In his vertically-striped, sprayed synthetic polymer paintings, Tim Bavington creates rhythmic visual systems by assigning colors to texts and musical arrangements. Around 2002, as after exploring numerous “theories of proportional harmony” in his painting practice, Bavington began translating guitar riffs into mathematically-proportioned bars, varying in widths and colors to represent audible shifts and durations. Past works borrowed titles from classic rock songs and albums. In those paintings, as well as in his new works, he also toys with proportions, often juxtaposing the verticality of the composition with elongated horizontal canvases. The results are paintings that function as recordings – schematics of events or experiences depicted as deceptively simple “footprints,” and leaving much to the imagination.
Unexpectedly, Bavington’s stripes meet with subtle transitions rather than sharp, masked edges. Citing such influences as the desert landscape of the West, neon signage, and optical paintings of the 1960s and 70s, Bavington reinvents a language typically associated with hard-edged abstraction. His electric color combinations, at times interrupted by near-caustic strips of contrasting hues, are indicators of speed and temperature as well as symbols of sound. Because, a 2007 canvas measuring 60 x 144 inches, begins (if one chooses to “read” the canvas from left to right) with a sequence of blues, greens, pinks, and reds, then is neutralized by a wide band of mustard brown. Just to the right of center, an orange, mustard and cream sequence temporarily dominates before the composition dissolves into a broad strip of hot pink at the right edge. A Perfect Day (in the life), 2007, a 64-inch square canvas, vibrates in bright red, blue, purple, and green – optically protruding and receding in columns of various widths. In these and in all of the works, Bavington balances a systematic approach with intuitive paint handling, resulting in canvases that bridge the gap between real and synthetic, digital and analog, straight symbol and coded metaphor.
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