ORDER VERTIGO 28_e.jpg
ORDER VERTIGO 27_e.jpg
ORDER VERTIGO 32_e_300.jpg
ORDER VERTIGO 37_e.jpg
ORDER VERTIGO 26_e.jpg
ORDER VERTIGO 43_e.jpg
ORDER VERTIGO 40.jpg
ORDER VERTIGO 46_e.jpg
ORDER VERTIGO 47_e.jpg
ADDITIONAL ORDER AND VERTIGO 2.jpg
ORDER VERTIGO 25_e.jpg
ORDER VERTIGO 22_e.jpg
ORDER VERTIGO 54_e.jpg
ORDER VERTIGO 20.jpg
ORDER VERTIGO 16_e.jpg
ORDER VERTIGO 7_e.jpg
ORDER VERTIGO 3.jpg
ORDER VERTIGO 6.jpg
ORDER VERTIGO 4_nov23_VERTICAL_2.jpg
velasquez_untitled256_36x23x1_med_edited_extended_VERTICAL.jpg
ORDER VERTIGO 1.jpg
ORDER VERTIGO 21_e.jpg

ORDER AND VERTIGO

GUILLAUME LINARD OSORIO

DERRICK VELASQUEZ

ON VIEW 05.28.20 – 07.25.20

CARVALHO PARK announces the opening of Order and Vertigo, a two-person exhibition featuring notable new works by Paris-based artist Guillaume Linard Osorio and Denver-based artist Derrick Velasquez. This exhibition marks the first time Linard Osorio’s paintings are shown in the United States. Order and Vertigo is fully viewable online and by appointment request at Carvalho Park in Brooklyn until July 25, 2020.

In a moment in which we are collectively experiencing vertigo from the unexpected, having seen once seemingly concrete systems of structure questioned, or expeditiously upended, the work of Guillaume Linard Osorio and Derrick Velasquez feels particularly fitting. With alluring potency and aesthetic efficacy, the work tests the architecture of perception, of material distinction, of ways of seeing. These are devotedly process-driven works, and in the artists’ selection of materials for their inherent physical and structural qualities, each artist offers his challenges to the vocabulary of abstraction. And conclusively, with elegance and assuredness, material and compositional hierarchies are erased.

GUILLAUME LINARD OSORIO

Linard Osorio mediates the conversation of image versus object, material versus ground, as intuitively as he does theoretically. The artist proposes a new field within the picture plane, a landscape of channels between sheets of polycarbonate. Within a window-shaped format that ties the material to its architectural roots, the space inherently suggests a kind of inside-out interface. Linard Osorio renders the site a chromatic environment – injecting colored resins that result in a retinal play of liquid-like images. Voids become veils of impossibly beautiful transitions of magenta to cobalt, or more quietly, pale blue to moss, that oscillate between transparency and deep saturation behind a semi-reflective visage.

In Minimalism, the repeated drawn line – or the stripe – functioned as a self-reflexive device, one dictated by the rectilinear structure of the canvas. In Linard Osorio’s work, as resins travel by means of gravity, vivid lines form in inner space, in continuum, one after the other. The work embraces the language of Minimalism’s stripe and the liquid pour of Color Field; however here, the artist is not absent. The co-presence of temporality and permanence impart a sensitive process in which Linard Osorio acutely knows and fully controls the medium – its density, duration, its presence in the final composition. The series Euphonie is realized by one slow movement in unison with the artist’s body, momentarily paused and resumed for desired effect. Recalling a spectrogram, the compositions are quietly hypnotic. In contrast, the exhibition’s most expansive work – Noise Painting No. 7 – traces a different approach, in which the material was forced and torqued, the resin diverted and then composed, offering dissonance against the others’ stillness.

DERRICK VELASQUEZ

Velasquez’s resonating lexicon of repeated bands of color – in both the vivid and monotone – may at first appear as emblems to high Modernist abstraction. His untitled wall sculptures – a well-known series at the center of the artist’s practice – signal the doctrines of geometric painting with their decisive color transitions, smoothness of surface and geometric totality. The sculptures’ elegant curvilinear forms are manifested by draping myriad strips of industrially-manufactured vinyl – a process and material selection that in turn, wittingly and softly circumvents the rules dictated by hard-edge abstraction.

Through the meditative, at times quiet lulling of layered bands, the sculptures give way to a humanized character, mimicking the manner that a body may lay in repose, draped over the arm of a couch, or tendons over bone. The curvature softens as it builds from the sculpture’s wooden armature and nears the top surface. Velasquez’s striped assemblies, while distinctly minimalist in their visual vocabulary, are emphatically maximalist in their exploitation and formalization of the material. The edge of the surface is the work’s formal element – the sculpture’s face composed of exposed edges of hundreds of vinyl strips that exist here as pure color, denying the primary surface of the material that for which it was intended. It is through these singular works that Velasquez composes a language of structure that eloquently disrupts our notions of how both material and art object should function.

Guillaume Linard Osorio (b. 1978, France) lives and works in Paris. The focus of his studies was architecture :: He is a graduate of the École Boulle and the École Nationale Supérieure d’Architecture Paris Malaquais. Linard Osorio’s work has been shown at MAMCO Museum of Modern and Contemporary Art (Geneva), Centre Pompidou (Paris), MAC / VAL (Vitry-sur-Seine), l’Espace Croisé Centre d’Art Contemporain (Roubaix), the Bourges Contemporary Art Biennial, Platform3 (Munich) and Bikini (Resonance program of the Lyon biennial). He has also exhibited at FRAC Bretagne, Ateliers de Rennes / Biennale d'Art Contemporain, La Maréchalerie center d'art contemporain (Versailles), HEAD (Geneva), Magasin (Grenoble), Biennale internationale de design de St Etienne, at YGREC ENSAPC (Paris), at the Bush Film Festival (Brooklyn), at the Rencontres internationales Paris / Berlin / Madrid, at In Extenso (Clermont Ferrand) or at the Vasarely Foundation (Aix-en-Provence). Linard Osorio is represented by Galerie Alain Gutharc in Paris. His work is in the permanent collections of FRAC Bretagne (Régional Fund of contemporary art of Brittany, France).

Derrick Velasquez (b. 1982, California) a recipient of the prestigious Joan Mitchell Award in Painting and Sculpture, holds a B.A. in studio art and art history from the University of California, Santa Barbara, and an MFA from The Ohio State University, Columbus, OH. Among Velasquez’s institution exhibitions are those held at the Museum of Contemporary Art Denver (Denver, CO); Boulder Museum of Contemporary Art (Boulder, CO); Black Cube Nomadic Art Museum (Denver, CO); Herron School of Art and Design (Indianapolis, IN); The Frame Gallery at Carnegie Mellon University (Pittsburgh, PA); Drexel University (Philadelphia, PA); Center for Visual Art (Denver, CO); VAC University of Colorado (Boulder, CO); RedLine Contemporary Art Center (Denver, CO); FOCA Biennial, New Mexico Museum of Art (Santa Fe, NM); among others. Awards and residencies include the MacDowell Colony Fellow 2019; MassMoCA Assets for Artist Residency 2018 - 2019; Joan Mitchell Foundation Painters and Sculptors Grant 2017; Black Cube Nomadic Art Museum Artist Fellow 2015; Colorado Creative Industries Career Advancement Award 2015; and more. Velasquez’s work is in the public collections of Temple University (Philadelphia, PA); Metropolitan State University of Denver (Denver, CO); Miami University (Oxford, OH), and in numerous private collections. Velasquez is the founder of Yes Ma’am Projects, a gallery in the basement of his Denver home.