great snippet:
Like Wittgenstein’s language games, Morandi’s paintings work like a simplified version of our own language that helps us understand how we use words. He brings painting to the edge of representation, painting objects so simple that they are nearly reduced to shapes and lines, but never are. He locates the power of a line in the tension between its simplicity as a mark and its existence as something else — the space between two boxes or fingers. We can’t see a line or a shape in his still life as merely what it is because we can’t separate it from its participation in the painting’s representation. The language of painted notation disappears when you try to isolate it, as in the detail below. It remains visible only when hidden “under the shadows of natural objects.” (Cennino Cennini, 1437: “This is an occupation known as painting, which calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist.”)
Elanore Ray
for the love of paint: John Yao on Elanore Ray
Elanore Ray: Morandi Room Philadelphia 2016 6.5 x 7.25 in
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