'Nicole Coson: In Passing' marks artist's first gallery solo show in the US

The First Art Newspaper on the Net    Established in 1996 Monday, June 17, 2024


'Nicole Coson: In Passing' marks artist's first gallery solo show in the US
Left: Nicole Coson, Untitled, 2024, Oil on linen, 98.5h x 141w x 1.25d in 250.2h x 358.1w x 3.175d cm. Right: Nicole Coson, Some place, within here, 2024, Aluminum cast oyster shells and chains, Dimensions variable.



NEW YORK, NY.- Manila-born London-based artist Nicole Coson’s (b. 1992, Philippines) debut US solo exhibition, In Passing, is now open and will be on view at Silverlens New York through April, 20 2024. For Coson, repetition and seriality are conceptual matrixes for questioning the durability of traces across geographies and time. Over the last decade, the artist has expanded printmaking's limits, deepening its material registration logic by incorporating everyday household items into the traditional press. Through the exhaustive repetition of seemingly cordoned-off or non-signifying surfaces (camouflage textile, window blinds), Coson's work quietly allows for an appreciation of diasporic identity through allegories of infrastructure and material culture.

In In Passing, Coson's starting point is the standard plastic shipping crate, used ubiquitously in the global supply chain for food and other perishable goods. The most standardized of designed forms, these crates' cubic, stackable anatomy is materially analogous to the serial logic of the print—manufactured objects predicated on the totalizing logic of sameness. Yet, as Coson's work shows, both object systems are distinctive for their undeniable heterogeneity and deviance from any given "model". Each crate (around 20 were used by the artist) is unique in its wear, just as all prints boast their own delicious imperfections caused by the inevitable contingencies of ink, paper, and press. What crystallizes in the artist's approach is the aesthetics of contingency itself, its narrative potential, and socio-economic resonances.

In the gallery's vitrine area and first gallery, imprints of various crates are arranged densely side by side across canvases. They resemble circuit boards or aerial views of cities, the negative space between each mark suggesting roads, alleyways, passages. The artist resumes this logic in the main gallery but in a cross-view, to a very different effect: the crates now suggest dense cityscapes. These Tetris-like verticalities resemble the concrete building blocks that make up the pre-fab stories of highrises. In both series, the totalizing modularity of the crate design analogizes city planning, but only in its emphasis on inherent imperfection and variability. Behind the modularity of mass-industrial modernism—an aesthetic program violently spread across the vastness of the world in the 20th century—you can find, still, endless dimensions of difference, birthed not from design but from the idiosyncrasies of (mis)use, inhabitation, and customization. Coson's canvases are invitations to linger in these urban materialities, which inevitably points to the lived lives of its denizens. Just as the density of cities is an endless source of storytelling, one can get lost pondering the origin of the objects that journey across the global supply chain, its people, and its commodities forever on the move. Yet origin, devastatingly, will only ever reveal itself in riddle-like fractures. Crates are themselves without a home but instead destined for endless transit—forever clicking into one another in new dizzying configurations. What they have held and carried remains a potent mystery, legible only in ghostly traces on its surfaces—mark-making, as it were. This, Coson shows us, is the groundwork of poetic fabulation, which is still more than possible in the infrastructural reality of the 21st century.

The artist's self-devised crate printing crates—which, in the artist's own words, is "hardly printmaking at this point"—stretches traditional techniques of indexical registration onto canvas into an uncertain realm of material confrontation, negotiation, and gesture. The physical application of ink at this scale allows (in fact demands) the transfer of gestural marks: the result is something akin to woodgrain or fingerprints that, upon closer look, breaks up the seriality of the motif. Here, Coson's aesthetic of anonymity probes the logic of painting, its so-called "vitality," referencing a once-present body of an artist in front of a canvas.

Installed centrally in the exhibition space is a towering, cubic installation featuring aluminum-cast Aklan oyster shells threaded between interlocking metal loops hanging from the ceiling. The work explicitly mimics the spontaneous structures used to aquafarmed oysters in Aklan, a Visayan province in the Philippines, where these mollusks are cultivated on bamboo grids, dangling beneath the ocean's surface. As they age, the traces of aquatic and temporal differences in the undercurrent are imprinted on rings in their shells. In bringing this spatial arrangement to the far-flung white cube spaces of Chelsea, New York City, it may take on the formal similitude to the language of post-minimalism, or even more specifically, Felix Gonzales Torres' famous strung-together lightbulbs in his 1992 work Untitled (1992). Here again, one place's material culture finds a new semantic possibility in its movement through contexts; the common oyster farm is confused for something monumental, and by taking the place of the artwork, calls attention to the processes and politics of sculptural reification.

For Coson, the medium of printmaking—that noble art of seamless seriality—is uniquely predisposed to understand systems through their irregularities in both logistical and pictorial terms; that they, in fact, invite us to speculate obscure biographies in the traces of physical impression. This is also the rich context of understanding diaspora, which so often can only be measured in what is brought with, carried, lost, or shipped to a "home" or "homeland" somewhere.

– Jeppe Ugelvig

Silverlens
Nicole Coson: In Passing
On View Through April 20, 2024










Today's News

March 13, 2024

This 1,000-year-old smartphone just dialed in

Dreams and the Sublime: The Art of Shwetlana Mehta aims to capture the human psyche.

At TEFAF Art Fair, museums make up for shrinking private sales

Meet the artist delighting Amsterdam

Ira von Fürstenberg, jet-setting princess and actress, dies at 83

Eric Carmen, Raspberries frontman and 'All By Myself' singer, dies at 74

Doyle to auction a newly discovered painting by Diego Rivera on March 13

Indigenous Mexican artist Noé Martínez has first solo at Rose Art Museum

Opening reception today at Shari Brownfield Fine Art for 'Wyoming Women to Watch'

Wait, were those shoulder straps floating?

Royal Academician William Tucker has exhibition on view at Pangolin London

'Dove Bradshaw: Zero Space, Zero Time, Infinite Heat' now open at Arte Vallarta Museo in Puerto Vallarta

Vardaxoglou is presenting a work from each decade of Robyn Denny's oeuvre

'Nicole Coson: In Passing' marks artist's first gallery solo show in the US

New gig poster series celebrates iconic Teenage Cancer Trust gigs at the Royal Albert Hall

'Poetry in the box: A tribute to the history of the Mercato del Sale and Ugo Carrega'

How 'I'm Just Ken' won the Oscars without winning an actual Oscar

'Corruption' review: Onstage, a scandal's human drama is muffled

'Barbenheimer,' and an early start, boost Oscar ratings to 4-year high

A book celebrates James Foley and confronts a man involved in his murder

Inside the Governors Ball 2024 Oscars party

Malachy McCourt, actor, memoirist and gadabout, dies at 92

Oscar glory for 'Oppenheimer' rewards studio Chief's vision

Best and worst moments from the 2024 Oscars

'Soufiane Ababri:Their mouths were full of bumblebees but it was me who was pollinated'

The Benefits of Inline Skating for Kids' Physical and Mental Development

Art Basel reveals galleries and expanded program for its 2024 edition in Basel

The Impact of Customer Reviews on Small Businesses




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful