The surfaces of Feldman’s current works are enlarged and exaggerated facsimiles of uncooked canvas over pristine grey fields. On this presentation, Feldman introduces a moiré impact inside her printed fields. The moiré that seems as one other new route furthers Feldman’s relationship with tonalities in addition to her dialog with the viewer. Imbuing the work with a reverberating—virtually mercurial—end, this coloring on the surfaces indicators an exploration of each gentle rays and light-weight’s absence. “On first inspection, the viewer won’t initially discover the printed floor and assume my work have tough surfaces,” Feldman says. “The phantasm turns into clear when the work is examined up shut. I’m excited by this second, the viewer’s suspension of disbelief, after they acknowledge their very own functionality to just accept fiction as reality.” The artist attributes this interplay to “a second of instability when the notion of fact feels subjective—feels grey.”

In defiance of the gradual disappearance of the artist’s hand in art-making, Feldman delves deeper into the tactility of portray, notably of the canvas medium. A number of passes of silkscreen ink enfold varied textures of the uncooked canvas and switch their woven physicality onto gray fields. Whereas the method stays {a partially} enigmatic aspect for the attention, the bodily presence of the canvas isn’t compromised, even elevated as an integral a part of the completed work. The introduction of finger paint contributes to such a reminder of the materiality in portray. Feldman’s fingerprint—a type of id, character, warmth, and authorship—salutes the trajectory of art-making way back to the cave work marked with fingertips.

The present’s title encapsulates Feldman’s subversion of in-betweenness and permanence. “Goodnight Mild” is each a farewell and a welcome, a launch and contraction and, most gloriously, an assumption of the nocturnal darkish and data for the sunshine to return. A each day interval of manufacturing and an impression of tenebrosity, nighttime for Feldman holds kinship to her key themes, kinds’ slipperiness and continuum of flux. Just like the supposedly binary nature of evening and light-weight, the duality between strain and launch is contained in painterly kinetics. Edging in direction of discharge, the kinds appear compressed to a stress—or on the other finish, their floating airiness nears envelopment. Like a head swimming up in direction of the air or a physique working to the sunshine, the anticipation for a “changing into” in Feldman’s universe stays suspended.

In Aura Storm, two cloud-like kinds vertically bookend a lightweight grey mass with borders painted right into a pixelated geometry. Their excellent upright symmetry is challenged with linear smears of finger paint. Imprints of a second and a human urge, the traces resist the fleeting second with the alchemic actuality of the acrylic paint. The satirical contact of the maker is clear in Blob Throb with a beneficiant dollop of white paint—which Feldman refers to as meringue—adorning the left backside nook of one other seemingly symmetrical orchestration of bulbous erratic traces and fight between white and gray washes. The cloudy blob accommodates dualities: each an interrupter and decoration, softness and rigidity, in addition to temporal and of the moment.

The physique—whether or not the artist’s personal as an agent of creation or an allegorical one encapsulated within the work’ kinds—is a important cue in Feldman’s route. From a signature motif, which might be known as intestinal, to different natural—virtually respiration—patterns, Feldman’s visible language derives from the physique’s autonomous malleability and interdependency. The repetition of sure shapes in numerous work builds a hereditary constellation inside her oeuvre, supporting a way of familiarity and continuance. On the interplay of the bodily and psychological, they encapsulate the topology of the artist’s correlation of each autonomies. “They’re an imprint, an after picture like while you by chance reduce your self and it throbs lengthy after,” she says about her shapes. “Artists soak up power on a regular basis, and this throbbing comes out within the work—it’s a manifestation of the expertise, of what the world brings.”

From the picture saturation on-line and off to know-how’s yielding of its personal aesthetic codings—glitches, pixels, or blurs, the promise in abstraction nonetheless provokes Feldman’s decade-long relationship with the canvas. The transformation alongside the best way has been tied to the need and chance of foundational kinds, similar to bulbs, curves, traces, or zigzags, all whereas the velocity of sunshine is overshadowed by the tempo with which info is disseminated, and a focus spans are tightened. In such a panorama of visible bountifulness—or mayhem, if you’ll—Feldman’s insistently grey and white abstractions try to complicate the numerical hegemony of time, rendering its passage as a malleable order relatively than a inflexible development.

Osman Can Yerebakan

at Galerie Eva Presenhuber, Zurich
till November 26, 2022