“The surface, be it a wall, canvas or sculpture, acts as a palimpsest for him. His practice as a writer and painter makes sense for these calligraphy gesture marks,” he said. I am. Michael Looks, Curator of modern and contemporary art at the Museum of Fine Arts in Atlanta, curator of the 2014 exhibition “Jose Parla: Segmented Reality” Palla’s first major museum show.
“The impulse can be traced back to the writing of ancient walls,” continued Luke’s. “When you think of other objects that evoke similar social and cultural upheavals and transformations, such as part of the Berlin Wall, they prove history and their surface has a particular meaning to the viewer. The mark is engraved. Maker, it may be lost. “Lukes considers Parla in this sense” because he is unearthing our own experience “and” of history. ” Call a familiar object that “has a layer”.
Palla’s skill is to find dignity in the accident of time, the surface and sagging traces of stalactites in the cityscape, and what accumulates and eventually loses over time.
Not surprisingly, the restlessness that characterizes his paintings is reflected in his schedule.He is already working on his next project, a presentation at the Brooklyn Museum Gana artCurating shows in Istanbul and Italy, in Seoul. Perhaps to some extent, he rejected the word. “I’m not a curator,” he laughed. “It’s like a more systematic operative.”
Jose Parla: Polarity
Until August 24, Library Street Collective, 1274 Library Street, Detroit, (313) 600-7443; lscgallery.com..
