Time slows in “Above and Under,” which presents viewers with detailed work of the pottery, crops, textiles, and furnishings that encompass the artist every day. Among the many houseplants he nurtures and the objects he collects, Cline finds prepared topics for making a world of quiet respite and contemplation. Executed in a restrained shade palette dominated by tender blues, browns, and greens, Cline searches for an inside world, searching for shelter from the relentless chaos of the knowledge age.
The nonetheless lives in “Above and Under” developed from Cline’s previous figural work. His early figurative work typically centered on a central drama suggesting a bigger narrative, one through which crops and objects play secondary roles. However in recent times, a sharpened concentrate on the marginal features of his early works has introduced an invigorated freedom to his follow. With out ideas of overt narrative or references to cultural or historic contexts, Cline has been capable of develop a singular visible idiom that finds which means in texture, mild, and type.
Cline’s uncommon vantage factors and evident eye for the quotidian are harking back to the haphazard compositions of vernacular images. Eschewing particulars that root his work in a selected time or place past the home inside, Cline opts to concentrate on the formal and materials particulars current in his topics, akin to mud, textural eccentricities, and lighting. Furthermore, every canvas is stippled to provide a sandpaper-like floor suggesting haze in every picture. The emphasis of texture and lightweight over shade’s saturation brings an depth to the work that makes the modest objects seem as if they’re vibrating, imbued with a surplus of vitality that may by no means totally manifest.
at Nino Mier Gallery, Brussels
till October 1, 2022