All The Small Things
HOME SPUN presents two bodies of work by Kat Medina. Here, we encounter a certain mobility between spaces – Spaces in an oscillation through the architectonic and the gestural, and Spaces borne from the interstices of intuitive structures. Amidst a jigsaw-like community of irregular paintings on panel (akin to the adaptable constructions of a population faced by meager materials) we find a patchwork of stitches (a landscape, a compounded coterie of fragments). HOME SPUN is a starting place, an exhibition that engages with materials and domestic gestures that is rudimentary to creativity overarching the practice of “thinking with hands”. It is about motions that essentially belong to the private space but have naturally built up, puncturing it, and inevitably bridges our familiar interaction with an everyday to a value in the artistic context.
Domesticity is both implicit and explicit in HOME SPUN. In her quilt-like patchwork, this is clearly expressed – the facsimile of the bed covering and the home-maker’s craft of embroidery. This work represents no image, it is an abstraction through open-clawed clusters of thread. On the other hand her paintings seem to operate outside the realm of the home – with their calculated permutations of chroma, there can no doubt be a certain erudition to their equations. However the field that contains these horizons of color are scraps together. Their frames migrate beyond the quadra-angular flatness expected of paintings, giving the impression of a structure that is organic (and snowballing) in their spatial perimeters. These materials represent something close, as they evoke the sense of homemaking in the sense of craft (needlework) at the same time of making a home in the candid practice of constructing with any available scrap and any immediate discard.
Kat Medina forgoes the image, and explores making places in the architectonic nuances in gesture and in the configuration of color. After all, what determines our treatment of space is based on patterns borne out of intuition and need. Sewing identifies this impromptu sense of purpose. Likewise space is played out not in the skeletal frames (and their efficiency) but rather in the device of color values in achieving multiple horizons, a mishmash of depth – overall an opening up of spatial frontiers that give birth to new ones. Furthermore, to achieve this limitless emergence of spaces through chroma, the resin is poured over. Sealing, which is one of this substance’s primary functions, in Kat’s work, however, is not as important as the effect of resin to the flat plane of painting. This formal device allows depth to some areas while emerging others.
HOME SPUN does something to readymades. The works make use of what is close by – manufactured lost pieces or readymades with missing pieces – into handmades. The exhibition is part of the home, and questions issues of domesticity in the particular focus to how things accumulate. Kat sees this build up as a process that is not contrived. It may extend to the bigger picture of many homes. However the sort of growth in quantity refers not so much in the vertical multiplication as it is about horizontal settling and natural amassing of things. As with a crest of wave, we are suddenly made aware of the build-up of flotsam in our own spaces and in our own lives without witnessing its escalating motions. And sometimes in the recognition of this whole, like Kat, we unstitch it and make patchwork.
HOME SPUN, in bullet points:
• The painting is an architectonic configuration
• The painting in its flatness
• In its flatness, the painting is a peculiar compound of horizons and
certain degrees of depth
• This peculiar compound of a landscape is achieved in the absence of
hue and tone
• After all, there are no hues and tones (and grays) in the
accumulation of all the small things
• All the small things are always domestic
• Sometimes they are readymades that lost some pieces
• There is tension in these readymades when they are used in the
practice of handmades
• Handmades and painting, don’t they mean “thinking with hands”?
• “Thinking with hands” is the configuration’s equation = the Gestural
+ the Calculated
• Architectonics started with the gestural that becomes a blueprint
Kat Medina in “Home Spun” will open on January 07, 2013 at 6:00pm at Blanc Gallery, Unit 2E CrownTower, 107 HV dela Costa St. Salcedo Village, Makati. For Further inquiries, please call/sms +63920-9276436 like “blanc gallery” on facebook or email firstname.lastname@example.org.