R. H. Quaytman deploys techniques of mechanical reproduction and traditions
of conceptual art to create closed series of works divided into chapters.
Subsequent parts are numbered to mark the passage of time and the gradually
completing life and artistic project. The artist treats all exhibitions and
paintings presented as one creative undertaking.
R. H. Quaytman approaches painting as if it were
poetry: when reading a poem, one notices particular words, and how each is not
just that one word, but other words as well. Quaytman's paintings, organized
into chapters structured in the form of a book, have a grammar, a syntax, and a
vocabulary. While the work is bounded by a rigid structure on a material
level—appearing only on beveled plywood panels in eight predetermined sizes
derived from the golden ratio—open-ended content creates permutations that
result in an archive without end. Quaytman's practice engages three distinct
stylistic modes: photo-based silkscreens, optical patterns such as moiré and
scintillating grids, and small hand-painted oil works.
Quaytman work, presented for the first time in
Portugal, contemplates the possibility of painting today. What is a painting,
an icon? What are the means of painting in a culture saturated by visual
stimulation, from photography to a digital forest of signs? Is painting still a
relevant medium to share our history?
exhibition is co-organized by Muzeum Sztuki in Lódz, Polónia, and by Fundação
de Serralves – Museu de Arte Contemporânea, Porto.
by Jaroslaw Suchan
Inhotim Collection, Brazil
Discover the exhibition through a guided tour by the Museum Director, in video: