BLAKE RAYNE, BROTHER ASS
April 7-May 31st,
Opening April 7th, 6-9 pm.
X worked with ghosts inventing an unconscious.
One can place the most intimate biography (there are others) in the bag of expectations and face the ending of anticipatory anxiety, being fine with whatever stays. It is possible to look at the representation of what’s close, (to one), so, its abstraction can be. But I can barely stand to look at the nosey lined face of some relatives, and I find myself deliberately avoiding it all, sustaining the actuality of something too real.
Here I am, administering words when everything is extracted, taken, forgotten, and reassembled by tech-ectoplasms. Either way, Another is here and It cannot forget the Another; who’s excavation brings back the mnemonic blackouts that make every day, everyday. This situation is the ultimate, artificially invoked and agglutinated, uncanny.
Blake Rayne’s works, to me, show up in sequence, and image/word produce an articulation and the intimacy of not knowing. One inevitably looks at the paintings and suddenly there’s the realization that there is a group of ‘There Ares’, and the humming of a choir. Painting, in Rayne’s paintings, is one of the names of something that it is and it isn’t. Something that brings one back to the sound or the note of a practice that ventures into the poetic, to Techne1 and the plasticity of Phronesis2.
In Brother Ass, carbon-based reconstructions of a famous Neanderthal Skull hang in proximity to the first presentation of the ‘Daylight Savings, 2019’ drawings, (they could be read as a wiggling line/cave, subjected to the policing of saving something, while retreating or emerging). Alongside, a pleated sculpture (that is inscribed) announces a series of relationships between the diagrammatic, the monumental and malleability. All the works seem to be packing detours, delays, and what is ontologically or epistemologically speculative, reconsidering our memory crash.
And, so, in this presentation, a Neanderthal Skull from our closest extinct relative has been painted from various vantage points, and remains open: It appears as Archipelago, a titillating octopus, or a musical interlude, always reminding us of a parenthesis. Pointing to its own extraction and the material named by the petro-industry that brought it together.
Moreover, Brother Ass holds within, the disruptions that site-specificity demands, while the possibility of learning through material and material history are suspended between immersion, appearance and disappearance.
After the ghosts and extraction, the mineshaft that stays, lies neither in representation nor in mediation. It is a hallway in shock, located, like an X, like a skull, mapping the sight of its fullness; announcing an archive pulsating in a background of amnesia.
To end things here: In Rayne’s Brother Ass, materialities in migration sustain the in-flux, touching the supposedly immovable infrastructures of personality, language and institutions; fading in and out, in a space as thick as a road trip, headed into full contact.
Diego Singh, Miami Beach, 2019
Blake Rayne (b. 1969, Lewes, Delaware) lives and works in New York. Rayne studied at the California Institute of the Arts, and was the Director of Graduate Studies at Columbia University's School of Visual Arts (2003-2009).
His work has been exhibited internationally, at the Whitney Museum of American Art, New York; Centre Pompidou, Paris; Museum Ludwig, Cologne; Künstlerhaus, Graz; Bergen Kunsthall, Bergen, Artists Space, New York; Sculpture Center, New York; The Kitchen, New York; the Blaffer Art Museum, Houston, among other places.
His solo exhibitions include: Shade Subscription (Capitain Petzel Gallery, Berlin); Peaceful Photographers (Campoli Presti, London and Paris); Warmilk (Mendes Wood, São Paulo); On Fridays We Have Half Days (Miguel Abreu Gallery, New York); Blake Rayne (Formalist Sidewalk Poetry Club, Miami Beach); Coastal Graphics (Sutton Lane, Paris); and Folder and Application (Miguel Abreu Gallery, New York). Rayne's paintings are held in the collections of the Museum of Modern Art, the Whitney Museum of American Art, FRAC Poitou-Charentes, The Pinault Collection, and the Portland Museum of Art, among others.
In September 2018 Rayne presented DOGSKULLDOGS a one person-exhibition at Miguel Abreu Gallery, New York; followed by Carbon Days at Galeria Nuno Centeno, Porto.
Brother Ass is Blake Rayne’s first solo exhibition at CENTRAL FINE.
1As an activity, Techne is concrete and variable.2Phronesis is understood here as connected to conscience and resoluteness, a type of being-resolved in action as práxis. As such, it discloses the possibilities of being in a situation, as the starting point of meaningful action.
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