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Gaa is pleased to present vent violet, a solo exhibition of new works by Wilder Alison. vent violet represents Alison’s third solo exhibition with Gaa, and the first in the gallery’s New York space.
The late poet Kevin Killian opens his collection Tony Greene Era with a piece called “The Birth of Pallaksch.” In it the writer is listening to a lecture by the painter R.H. Quaytman, who says: “Op art, like humor, or sex, presses our yes and no buttons simultaneously.” It may be inaccurate to claim the paintings in Wilder Alison’s new solo show vent violet are “op art,” yet they certainly and repeatedly mash the “yes! no!” button Quaytman describes. Not oil on canvas, nor watercolor on paper (though they have qualities of both), these paintings are wool—hand-dyed, cut, stitched, and stretched. They have no scale, nor depth, nor figure, so to say they are abstract would, on its face, be true. Yet even within their abstractions, the formal and material concerns develop a poetics, taking on…
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Press Release
Gaa is pleased to present vent violet, a solo exhibition of new works by Wilder Alison. vent violet represents Alison’s third solo exhibition with Gaa, and the first in the gallery’s New York space.
The late poet Kevin Killian opens his collection Tony Greene Era with a piece called “The Birth of Pallaksch.” In it the writer is listening to a lecture by the painter R.H. Quaytman, who says: “Op art, like humor, or sex, presses our yes and no buttons simultaneously.” It may be inaccurate to claim the paintings in Wilder Alison’s new solo show vent violet are “op art,” yet they certainly and repeatedly mash the “yes! no!” button Quaytman describes. Not oil on canvas, nor watercolor on paper (though they have qualities of both), these paintings are wool—hand-dyed, cut, stitched, and stretched. They have no scale, nor depth, nor figure, so to say they are abstract would, on its face, be true. Yet even within their abstractions, the formal and material concerns develop a poetics, taking on…
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