Kimoto Gallery is pleased to present Homework, a new series of paintings, mono-prints, and installation work by Scott Sueme. This marks the artists second solo show with the gallery.
Building from his previous show, Retreat, Sueme continues his ongoing consideration for shape and colour, explored through hard-edged, yet painterly compositions. Refined to simplistic curves and formations, his work resists identifiable reference, allowing the viewer to consider a subject beyond context or representation. Indebted to 20th century abstraction and modernist design, Sueme brings equal attention to both process and form.
In this exhibit, Sueme draws inspiration from notions of repetition, cataloging, and methods of study - described by the artist as assignments or homework. Prior to painting, the artist investigates composition through the use of cut paper and overhead projection, exposing positive and negative gestures. These early exercises in spatial study inform the direction of the work, establishing a baseline for engagement. As form and colour are composed, we experience their interactions as moments of playful conversation, where elements vibrate with one another and settle in harmony. Each composition exercises balance that is heightened by the range of scale and distribution, where objects are in a constant flux yet in sync. Homework, as a new departure, aims to consider painting as a means of self directed study. By separating out the parts to a whole, we observe how elements communicate through an active visual language.
Each Monoprint is a one-of-one screen printed work, inspired from my catalog of cut paper shapes created throughout the Homework series. Each piece is screen printed by hand, using 13 set shapes burned into screens. My screen printer Ben Knight and I would work with one colour and one shape at a time, and build the images up while reacting to what had been placed before, resulting in 42 unique outcomes to the series. Reflecting on the prints, I considered how these unique compositions were created without the option to rework. There’s something both challenging and beautiful in leaving things as is, making due, and moving on without imposing too much. This was coupled with the idea of restraint, how something as limiting as 13 shapes can also have an endless potential in interaction and dialogue.