Color-Aid at Wasserman Projects @ Hyperallergic
DETROIT — Color-themed exhibitions often indicate a sense of slapdash or uninspired curatorial practice, which is why it was surprising to hear that Wasserman Projects was mounting Color-Aid for its summer program. Director Alison Wong, an artist in her own right, has never been known to phone it in, so the real question was: How can you make a show based on color really nuanced? To say that color is fundamental to the work of an artist is a little bit like saying that oxygen is fundamental to a breathing human being. Though color is not always the primary focus of a given work, it is a little bit difficult to avoid if your work appears within the range of normal-spectrum vision.
Color-Aid allows itself one gimmie on the color front, and these are the poured-resin canvasses of Cologne-based artist Peter Zimmerman. These works are comprised almost exclusively of vibrant, high-gloss color fields, achieved by pouring deeply hued resin in sharply defined and overlapping fields. The resulting compositions are, of course, anchored in the interplay of color, but equally convey engaging gesture, shape, and surface. I have long held to the theory that one of the benefits of being a curator is the opportunity to lick canvasses when no one else is around, and the candy finish on these works by Zimmerman would make the temptation almost irresistible for me (thankfully I’m not a curator).
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