Showing at 528 Cherry Alley, Hudson
Tension drives my work. Atmospheres and densities align, forming rifts and reverberations. There is compression between figure and ground. Paint areas are spatially deep or else they hover.
“Drawn” carved-like lines intersect or overlap. Collapsed structures evolve. The latter are the means by which color and materiality occupy and traverse the support. Wrested and twisted spaces also simultaneously unfold. They become armatures for spatial and surface infinitudes. Emergent imagery may suggest architecture, landscape or cosmology. Narrative also tapers to singular sewing pattern-like markings.
I find affinity with the work of Lee Mullican, David Deutsch and Judith Linhares. A long-abiding influence is Jo Baer’s 1983 Art Forum article “I Am No Longer an Abstract Artist”. Specifically, her post-minimalist call to work with painting’s and paint’s inherent visual, illusive and physical components.
Heidenheimer was born in Gainesville, Florida. She grew up in St. Louis and lives and works in New York City and Hudson, NY. She has attended Yaddo, Blue Mountain Center, VCCA and the Millay Colony and has had solo shows at Hudson’s Galerie Gris, J.C. Flowers & Co., Jaeckel Gallery, Ohio Northern University and The Italian Academy at Columbia University. She has participated in group exhibitions at The Hyde Collection, Waterhouse and Dodd, Casimir Effect, 56 Henry, LABspace and Station Independent Projects. She and Camilla Fallon recently curated the Abrazo Gallery group painting exhibition, Incise, Echo and Repeat. Heidenheimer has an MFA from Hunter College and a BFA from Washington University.
Below by co-curator Lisa Taliano on the occasion of 10 X Relay, Cat’s Cradle, September 2019, University of Tennessee, Knoxville, Downtown Gallery
How can we say anything new in painting? The canvas never starts off empty. It is always covered in clichés. Clichés are everywhere - images that circulate through the external world and penetrate our internal world. Our perceptions and our canvases are full of clichés by which we think and feel. Abstract painting, when successful, is a way to rid ourselves of the clichés that regulate our lives. Abstraction can serve to undo the synthesis of our perceptions, the optical organization of the cliché, through the free interplay of non-representational and non-signifying lines and colors.
To paint today one must come to see the surface as Gilles Deleuze described in his Logic of Sensation, not as empty or flat, but as intense: filled with the unseen forces of other strange possibilities, mixed and assembled in transformable and deformable ways. Abstraction in this sense is not about the flattening of illusionistic space, or the elimination of figure and narrative; it is not a retreat into pure painterly self-reference; it is an invention of other spaces with original sorts of mixtures, taking elements from all over, past and present, and making odd connections and re-assemblages. Full essay at
© 2019 Kylie Heidenheimer