Teo González on Mark Sheinkman

Rachel Nackman — Sun, 17 Jan 2010 15:58:46 +0000

Rubbing and erasing, dark and light, simple yet complex; all of these contradictions weave together to form 9.21.95 – a graphite drawing, which artist Mark Sheinkman erases as much as he draws.

The piece, as non-referential as it is, brings to mind a number of interpretations: flowing water, piled fabric, a fuzzy TV screen – all of it with a subtlety that makes the image soothing and enveloping.

Wide streaks stretch horizontally while wisps of vertical lines tug downward, suggesting a fluidness that is wholly organic in composition. The act of adding and removing these graphite lines forces the eye to slow down and to submit to these crosscurrents of flow long enough to ride their waves — an effect so arresting, you never want to let it go.

Mark Sheinkman on Terry Winters

Rachel Nackman — Sun, 03 Jan 2010 16:05:15 +0000

This powerful drawing by Terry Winters is a delicate piece of heavily worked paper with dissolving, frayed edges. It is the size of a very large book, an elephant folio. The “ground” is dense, reflective graphite and the “figure” is mostly the undrawn wove-gridded dirty ochre of the paper itself. Mark-making has been recorded in three dimensions, as dents and wrinkles in the thin skin of the paper itself, like Freud’s mystic writing pad. This reflective three-dimensional surface changes dramatically as you move.

The digital reproduction of this drawing by Terry Winters is a dimensionless image at one moment in time, under one condition of light. It is gray and black and not reflective. It is as big or as small as your screen. You zoom in and you zoom out. The drawing reproduced digitally is backlit glare, an image lost in translation.

Drawn/Taped/Burned: Abstraction on Paper » Mark Sheinkman

Teo González on Mark Sheinkman

Mark Sheinkman on Terry Winters