Garth Weiser, “Isolette” (2020), oil and digital media on canvas, 89 x 72 inches (courtesy the artist and Casey Kaplan, New York. Photography: Karen Pearson and Jason Wyche)
In an essay included in the catalogue accompanying the exhibition Garth Weiser: Paintings, 2008-2017, organized by the Contemporary Austin and curated by Louis Grachos, Weiser (quoted by Charles Wylie) says of his paintings: “The surface and the bottom really fight with each other.”
That dynamic, which is less apparent in the exhibition Garth Weiser, at Casey Kaplan (January 28–March 6, 2021), is what I want to examine.
In earlier works, Weiser superimposed one kind of abstraction (geometric) on another (gestural), binding together image, form, and texture in ways that were riveting, if not also visually astringent.