Filed under: Art World, San Francisco | Tags: abstraction, Jancar Jones, Nadiah Fellah, Nancy White, San Francisco
Nancy White, #10 (Green Yellow), 2011 | Acrylic on paper mounted board, 9 x 7.5 inches. Courtesy Jancar Jones Gallery, San Francisco.
Tucked into the back of a building that used to be the San Francisco Casket Company on Mission Street, Jancar Jones Gallery provides an intimate viewing space for Nancy White’s small works. The postcard-sized paintings by White, who was featured in editions #73 and #55 of New American Paintings, stud the walls of Jancar Jones like gems. Indeed, the intimately small works are jewel toned, and the first thought the angular lines within the monochromatic pieces conjure is that of cut gemstones.
The three-dimensional aspects invoke a visual element similar to facets, or the flat faces in geometric shapes on gemstones which create the light-reflecting surfaces that allow them to sparkle. That said, White’s paintings are made using matte paint, and are a continuation of her experimentations with painting and surface texture. Her recent work falls into two categories: work on steel and work on paper. The Jancar Jones show is composed entirely of the latter, but speaks to the hard-edges, angularity, and three-dimensionality of her steel pieces. —Nadiah Fellah, San Francisco contributor
Filed under: Q&A | Tags: Concrete art, Evan J. Garza, Jancar Jones Gallery, Nancy White, painting, ParisConcret, PNCA, SMFA, steel
#39, 2010 | Acrylic on hand-tinted paper, 5.06 x 6.88 inches
Last featured in edition #85 of New American Paintings, Nancy White produces intimately-scaled and optically charged geometric abstractions that invite viewers to question their dimensionality, where the distinction between what is painted and what is seen is often elusive. Through the manipulation of basic, concrete elements like light and form, White’s works—although small—make a big impact. We caught up with the artist this week to discuss her work and her new pieces made on steel. —EJG
EJG: What’s going on in your studio right now? Tell me about your new work.
I am pushing the relationship between my works on paper and my works on steel – being true to the material and visual differences between these pieces, yet conscious of their interpenetrating aesthetic qualities. Earlier this year I scaled the works on paper from a range of 8 – 12 inches down to 4 – 8 inches, closer to the proportions of the steel works. I toned down their color contrasts and immediately a different and more direct conversation between the two bodies of work appeared.
#8 Md_Bl_Gy, 2010 | Oil on primed steel, 5.5 x 8.25 x 1.5 inches
In the steel pieces my brushwork is becoming more prominent. Surprisingly, and kind of counter-intuitively, this is making the steel appear to be paper. What is happening overall is that although the pieces are hard edged — the outer edges of the steel, the geometric forms in the work on paper — their appearance is becoming one of softness. Beyond being perceptually and perspectively uncertain, they are visually contradicting themselves.