Guy C. Corriero . Untitled  2010
Oil on Gesso on Board  30 x 27 cm

Guy C. Corriero . Beech St  2009
Oil on Gesso on Board  32 x 29 cm

Thomas Ritz . Ohne Titel (radiance 3)  2009/2010

Pigment, Acrylharz auf Holz  40 x 40 cm

Thomas Ritz . Ohne Titel (radiance 4)  2009/2010

Pigment, Acrylharz auf Holz  40 x 40 cm

Thomas Ritz . Ohne Titel (radiance 1)  2009/2010

Pigment, Acrylharz auf Holz  40 x 40 cm

Thomas Ritz . Ohne Titel (blind spot)  2009/2010

Pigment, Acrylharz auf Holz  30 x 40 cm

Guy C. Corriero . Ohne Titel  2007
Oel auf Gesso auf Büttenpapier  58 x 76 cm

Guy C. Corriero . Ohne Titel  2008
Oel auf Gesso auf Büttenpapier  58 x 76 cm

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GUY C. CORRIERO  .  THOMAS RITZ

Exhibition  .  blue apricots  . Wed April 13th - Sat June 18th 2011

 

Blue Apricots? Why not think of the apricot as being blue for a change? The apricot has long been considered an aphrodisiac. Aphrodisiac enhance the libido. The flowering-period of the apricot lasts from march to april. The pits contain acid blue. Acid blue revives our spirit. Blue protects white from innocence. Blue often brings black with it. Seen too much blue? It is the blue apricots that provide the 'link' to the group of works and the actual work of both artists.

The first time I saw Guy C. Corriero’s works was at a collector in Basel. Shortly after I met the artist himself in New York. Needless to say that I am intrigued by this city and the artists it bears. A breeze of Brooklyn air and the trip to Corriero’s studio, housed in an old factory building, increased my curiosity of his artworks. Right upon our arrival Guy Corriero instantly started his work – he was cutting image formats. Then he started mixing the magical rabbit glue with pigments. The unusual with Corriero’s images is that he instantly finishes them with a frame so that a spontaneous trashy effect takes place. Almost monochrome, yet only almost, though the eye can make out color splashes, brush strokes and gradients. Guy Corriero uses different canvases. His works on paper are as lively as they are impulsive in their effect. Some obtain a structure through screening, then seemingly tamed only to directly influence even more with impetuous ferocity.

 

In 2009 Thomas Ritz had a solo exhibition at mitart. Meanwhile, Ritz the color scientist and alchemist in mixing pigments, uses to many of us unknown carriers for his visionary stories. Industrial produced aluminum sheets serve as his canvases. Sheets so smooth and even, they could be mistaken as paper work. Especially when presented behind glass. This is not the first time for Thomas Ritz to astound us with his choice of canvases. Yet simultaneously he remains true to his traditional oil-paintings on common canvas. Motives in compressed imagery showing figures seemingly coming out of the thicket. They are fractions, parts of organisms and bodies embraced or held by branches and the amorphous. Ritz mostly limits his use of color. As something black reveals its blue only after abiding. It is these images that want to generate moods and let us dive into wondrous narrative worlds.

 © Sylvia von Niederhäusern . translated by Annie Day

 

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