2021.5.4-2021.6.12

Timothy Taylor, New York

The solo exhibition Lightscapes presented in Timothy Taylor New York gallery , presented simultaneously at Timothy Taylor’s New York gallery at 515 West 19th Street and online in the Frieze Viewing Room, coinciding with Frieze New York 2021. This is the artist’s fifth exhibition with the gallery, comprising three paintings and six drawings, created specifically for the show. The exhibition will be accompanied by an interview with Alexandra Munroe, the Senior Curator of Asian Art, at the Solomon R. Guggenheim Museum. Since the mid-1980s, Ding has created his own visual language centered around crosses and grids, using his abstractions to reflect alternately on the rise of Shanghai as a metropolis, the surface of the picture plane and the appearance of neon lights. In his latest body of work, Ding turns his attention towards the sky and its planets, examining one’s place within the cosmos and the mathematical geometries that unite all elements in the universe. Singular among contemporary abstractionists working today, Ding’s unique combination of sculptural carving and non-objective painting stands alone among both Eastern and Western art traditions. Ding began working with wood in his current method in 2015 through a unique combination of sculpting and painting. His process begins by painting the surface, layer by layer, in several different colors, before outlining intricate grids in pastels. Ding then alternates between painting and cutting fine lines into the soft wood, rendering geometrically precise yet harmonious systems of interlapping lines and cuts. These cuts reveal the painted layers beneath the black or white base, creating an effect of perspective and depth through the seemingly flat surface. His latest paintings, mounted on basswood, are dominated by the appearance of a new, star-like abstract form on a diagonal axis, the product of a technique pioneered by Ding over the course of the Covid-19 lockdown in 2020. Representing the apex of Ding’s sustained exploration of the medium, these paintings see the artist cut intricate dot-like crevices into the wood with an extremely fine blade, resulting in an impression of shifting, glistening lights in shades of vibrant vermilion, magenta, lime green and acid yellow. His drawings, crafted in colored pencil and acrylics on a thick Chinese rice paper, mirror this process without puncturing the surface. Building upon Chinese ink wash painting techniques, the drawings also reflect the material processes used in Ding’s painting practice: textural brushstrokes are swept across the abstract forms on the paper, lending the drawings a painterly, tactile quality.

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