Stripes and Divisions
October 17– December 14, 2007
Since 1997, I have been making minimal paintings on aluminum panels. I use aluminum because the paint sits almost flat on the surface, and the panels project the colored surfaces one inch off the wall.
The paintings are reductive, using horizontal or vertical stripes and divisions of color. I use two types of paint: a high-gloss oil enamel that is mostly self-leveling, and a super-matte vinyl paint called Flashe that dries to an extremely flat finish. The high-gloss and super-matte surfaces clash strongly when one is situated next to the other.
The colors I use are relatively limited: mostly variations of pink, black, orange, aqua, lime green, lemon yellow, veronese and grey. The colors have no symbolic significance or intentional encoded meaning for me, but are chosen for their optical and radiant/absorptive qualities.
I have been told the paintings resemble flags, though I have never intentionally painted any particular flag or sign. What drives the work for me is the attempt to situate, in a “solidified way,” two or more colors together on a single surface. Though perhaps an ideal of perfection is suggested (and maybe even desired), there is no single “conclusion” to any given set of colors, and the paintings for me are always in question—is this the “final solution”? Any painting at any time is open for reconsideration, and the paintings are often re-painted and painted over, again and again.
Assistant Professor of Fine Arts
St. Lawrence University
Kasarian Dane received his BFA summa cum laude in painting from the University of Minnesota in 1995 and his MFA in painting and drawing from the School of the Art Institute of Chicago in 1998. He has shown his paintings nationally and internationally, including exhibitions in Chicago; New York; Minneapolis; Los Angeles; London, England; and San Juan, Puerto Rico. This past year, he presented a solo exhibition at Rowland Contemporary, and his paintings were also included in the Bridge Art Fair, both in Chicago.
“Kasarian Dane’s deceptively simple paintings feature little more than bands of color, though their composition speaks volumes, recalling traditional nautical signals, or, perhaps, flags from some make-believe country.”
AM, Flavorpill Chicago, Issue 114, 09/06
“These paintings of multicolored strips that run horizontally in some, and vertically in others, seem to float on the walls like bizarre flags of the future.… With their bold and brash color combinations, some of [Dane’s] works… are searing to the eye, while others evoke nostalgic associations by pairing colors that were popular in different decades (a 1980s mauve and a psychedelic 1960s lime-green, for instance)… some would make for excellent flat-screen television decoys with their locked color bars.”
Josh Tyson, Time Out Chicago, Issue 96, 12/06-01/07
“[Dane’s] fidelity to the endless subtleties of tone, shape, and pattern is both earnest and accomplished, exuding a sense of a knotty problem brought to hard-won resolution. Nevertheless, the variables in play—color, texture, width, rhythm, and articulation—may be shuffled endlessly, and the allure of Dane’s project is that each subsequent instance will be as difficult to achieve and interesting to witness as the first.”
James Yood, Artforum, 02/07
“I find [Dane’s paintings] to be a perfect solution to one of those hundred-year-old problems of how do you make hard-edge abstract stripe painting.”
James Yood, Chicago Public Radio, 04/07
Additional funding is provided by the Jeanne Scribner Cashin Endowment for Fine Arts Fund.