Margie Livingston, Small Folded Painting in Yellow, Green, and Neutral Red, acrylic, 2010.
Over the past three years, Margie Livingston has been experimenting with paint in a radically different manner from her earlier work. She has removed the surface of the painting in an effort to concentrate on the sculptural qualities of drying paint.
Margie Livingston, 146 Fluid Black and White Layers in a Grid, acrylic, 2010.
These groundless paintings are often accomplished by pouring several gallons of acrylic paint on the studio floor and allowing the sheets to dry to a pliable new material. The sheets are rolled, cut and otherwise contorted into a variety of shapes that rely on precision to complete the forms with chance often factoring the juxtaposition of color.
Most painters maintain a waste area for unused paint, often in the shape of colorful mounds. These long term, arbitrary asides are rarely exhibited. Livingston counts on mistakes as a central theme driving the experimental nature of these new sculptures. The finished pieces exhibit a polish that solidifies their physical presence outside of the experimentation of the studio. Leaving the canvas behind is a big step, it should be interesting to see where this reckless behavior leads.
Margie Livingston, Study for Spiral Block #5, acrylic, 2010.
22 January – 27 February 2011
Luis De Jesus Los Angeles