Nano Rubio

Feb 4, 2013

Los Angeles

Engaging with seemingly discordant elements of structure and chaos, Nano Rubio’s paintings are reminiscent of the “push/pull” spatial qualities associated with abstract expressionist painters, such as Hans Hofmann. By composing a background of highly precise line work behind a foreground of loosely gestured swaths of paint, Rubio engages in a rich interchange between geometric precision and performative mark-marking techniques.

Rubio’s meticulously rendered lines are derived from a traditional pinstriping technique, and recall the laborious methodology of hot rod detailing. Seemingly mechanical bands fill the canvas in waves, transforming the field into an undulating kind of optical ambiguity. By contrast, each foreground features the unpredictable quality of organic forms – some evoking the haunting presence of the human likeness while others merely allude to an indexical thumbprint. Rubio’s interest in a duplicitous surface is best exemplified by his manipulation of layering and distorting a single medium. While occupying a shared space and makeup, the paint’s variance implies disconnected genres; an inequality that Rubio likens to sociopolitical polarities and limited consumer choice. The relationship between these dissonant practices creates a curious terrain in which macro structures rest upon surfaces of micro detailing; a tension that allows the viewer to magnify or diminish these elements at will. In Rubio’s hands, paint is both the unifying and dividing constituent of an overall experience, and ultimately the cartography of his process-oriented execution. Whether it is achieved by filling a punching bag with paint, and letting the evidence of his exertion drag across the canvas, or painstakingly fashioning networks of painterly veins, Rubio’s critique of societal disconnectivity is executed through his own physicality as much as his conceptual representation.

Nano Rubio

Mark Moore Gallery

January 12 – February 9, 2013
5790 Washington Blvd
Culver City, CA 90232