Waiting for the Elevator, 175 x 100 x 40 cm, 2003
Exhibition from may 26th to june 26th 2004
In the last few years, Edouard Prulhière, a French-born painter based in New York for over a decade, has been presenting his canvases, which feature multihued pours, drips and splatters, not as autonomous, flat, wall-mounted entities, but as components of funky wall assemblage and freestanding sculptures. In works such as It’s Not Raining in England (2003) and Minha Querida (2003), the paint-splattered canvases, which suggest the wilder bourns of Abstract Expressionism, are subjected to all manner of indignities. Some are roughly wrapped around wooden frames and screwed and bolted into place; others are cut into strips, which are then rolled up and fastened with plastic ties. As he constructs these hybrid works, Prulhière crumples, twists and tears at his canvases, using them more like building materials than works of fine art. They also share quarters with similarly paint-splattered furniture cushions, scraps of linoleum and plywood, and lengths of wall molding. Occasionally, blobs of colorful melted plastic – an industrial by-product the artist happened on – show up as well.