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I’ve found it useful to approach this exhibition with a negotiation between two similar terms: restraints and constraints. In some online course notes for a molecular physics class at the University of Oregon, I found:
“The seminal difference between a constraint and a restraint is that a constraint is an absolute restriction imposed on the calculation, while a restraint is an energetic bias that tends to force the calculation toward a certain restriction.”
In a way all painting could be said to deal with the absolute restrictions of static figures caught in oxidizing pigmented oil or acrylic emulsion. But Bailly-Borg’s figures in this exhibition do not seem to lament their confinement– struggling to escape their restraining substrates– so much as they seem to ecstatically writhe within their confined quarters. Oftentimes under restraint, one writhes all the more ecstatically. But to say that Carlotta’s reproductions in pencil are writhing in...More
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Press Release
I’ve found it useful to approach this exhibition with a negotiation between two similar terms: restraints and constraints. In some online course notes for a molecular physics class at the University of Oregon, I found:
“The seminal difference between a constraint and a restraint is that a constraint is an absolute restriction imposed on the calculation, while a restraint is an energetic bias that tends to force the calculation toward a certain restriction.”
In a way all painting could be said to deal with the absolute restrictions of static figures caught in oxidizing pigmented oil or acrylic emulsion. But Bailly-Borg’s figures in this exhibition do not seem to lament their confinement– struggling to escape their restraining substrates– so much as they seem to ecstatically writhe within their confined quarters. Oftentimes under restraint, one writhes all the more ecstatically. But to say that Carlotta’s reproductions in pencil are writhing in...More
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