Corinne Wasmuht

Petzel, New York

Petzel

Installation view of a gallery room with white walls and dark gray floor. We are facing a wall with a doorway directly in front of us, in the center of the image. The doorway leads into the next room, into which the floor extends. Through the doorway we can see parts of a mural on the wall facing us. The mural is in white with subtle blue and yellow lines converging, possibly depicting a square or a large room. In the ceilings in the first room, we can see fluorescent light tubes in horizontal rows. At their left ends we can see a railing with two spot lights. The floor is made up by large rectangular sections, possibly casted concrete or other industrial material.

Installation view of a gallery room with dark grey floor, white ceiling, and two white walls forming a corner in the center of the image. In the left wall, we can see a rectangular doorway leading into the next room. Through the doorway we can see parts of a mural on the wall facing us. The mural is in white with subtle blue and yellow lines converging, possibly depicting a square or a large room. On the right wall hangs a large, rectangular painting that appears to be painted from a digital photographic image, which has disintegrated and become fragmented, such as through heavy compression or damage to the file. It is painted in a palette of whites, browns, greens, blues and purples. In the ceiling, we can see vertical fluorescent light tubes parallel to the left wall in the image, and a railing parallel to the right wall with four spotlights directed at the painting. The floor is made up by large rectangular sections, possibly casted concrete or other industrial material.

Installation view of a gallery room with dark grey floor, white ceiling, and two white walls forming a corner to the far right of the image. On the left wall hangs a large, rectangular painting that appears to be painted from a digital photographic image, which has disintegrated and become fragmented, such as through heavy compression or damage to the file. It is painted in a palette of whites, browns, greens, blues and purples. Despite its abstract form and fragmented figurations, we can discern spatiality and perspective. The painting appears to depict a wide street, square or urban park. From the bottom of the painting, white stripes of various width, making out some form of pathway, extend into the center right of the painting where the vanishing point is located and all lines converge. Along these white stripes, starting from the bottom right of the painting, we can also see what appears as thin, rectangular fences in rectangular arrangements reoccurring throughout the space. To the left, in the center and in the right of the picture, we can discern typical outdoor trash cans with swing lids, painted in white and turquoise. Between the lines on the ground, marbled patterns in various colors such as white, black, green and purple have been painted, which appear to reflect their surroundings, as if pools of water. At the edges of the painting, foliage and wiggly branches in green and browns can be seen, suggesting the street or park is outlined with trees. To the left in the painting, amongst the foliage, we can see two white areas with circles in thin black lines painted at their center, possibly street lights or lamps illuminating the space. At the center of the picture we can see a culmination of abstract shapes in various hues of purple, green, brown, white and black. White thin lines cut through them, suggesting missing information and disintegration of the image. Across the top of these abstract shapes, purple and green lines in the shape of arches have been painted, making it seem as if the street or park is canopied or as if the surface of the image itself has ripples. In the ceiling, we can see five fluorescent light tubes perpendicular to the left wall, and a parallel railing with four spotlights directed at the painting. The floor is made up by large rectangular sections, possibly casted concrete or other industrial material.

Installation view of a gallery room with three white walls and dark gray floor. In the ceiling, we can see what looks like a rectangular skylight perpendicular to the center wall, which we are facing. Just before the skylight hangs two spotlights directed at the center wall. A rectangular mural takes up almost the entire center wall apart from a strip at the bottom along the floor where we can see the white wall. The floor is made up by large rectangular sections, possibly casted concrete or other industrial material. The mural hovers between abstraction and figuration. It appears to be painted from a digital photographic image that has disintegrated and become fragmented, such as through heavy compression or damage to the file. Whites, greens, blues, browns and purples dominate its palette. White is the dominant color, and seems to represent missing information in the image. Despite its abstract form and fragmented figurations, we can discern spatiality and perspective. The mural appears to depict an urban public space, such as a square. From the bottom of the mural, thin lines in various greens, purple and some yellow, extend into the center left of the mural where the vanishing point is located and all lines converge. In the sky in the upper part of the mural, similar thin lines are mirrored. About a third down from the top of the mural, we can see a horizon line made up from architectural elements such as a bridge, overground subway line, an elevated train track or a series of low buildings, painted in green, black and white. Along the horizon line, we can discern the fragmented silhouettes of people in the far. At the right edge of the mural, we can see a large building painted in brown and white. It has large windows and looks like either a train station or a shopping mall. The lines in the sky make the space look as if covered by a large dome, or as if there are surreal ripples on the surface of the sky.<br><br><br>

Installation view of a gallery room with two white walls meeting in a corner at the center of the image, white ceiling, and dark grey floor. In the center of the room, obscuring the corner, we can see a square-shaped column. On the left wall hangs a rectangular landscape format painting in whites, greens, blues, and purples. On the right wall hangs a wider rectangular landscape format painting in a richer palette of contrasting colors. Both paintings seem to be composed from digital photographic images that have disintegrated and become fragmented, such as through heavy compression or damage to the files. Parallel to the left wall, in the ceiling, we can see fluorescent light tubes in horizontal rows. We can also see spotlights directed at both paintings. The floor is made up by large rectangular sections, possibly casted concrete or other industrial material.

View of a large painting in rectangular landscape format. The painting hovers between abstraction and figuration. It appears to be painted from a digital photographic image that has disintegrated and become fragmented, such as through heavy compression or damage to the file. It is painted in a palette of whites, browns, greens, blues and purples. Despite its abstract form and fragmented figurations, we can discern spatiality and perspective. The painting appears to depict a wide street, square or urban park. From the bottom of the painting, white stripes of various width, making out some form of pathway, extend into the center right of the painting where the vanishing point is located and all lines converge. Along these white stripes, starting from the bottom right of the painting, we can also see what appears as thin, rectangular fences in rectangular arrangements reoccurring throughout the space. To the left, in the center and in the right of the picture, we can discern typical outdoor trash cans with swing lids, painted in white and turquoise. Between the lines on the ground, marbled patterns in various colors such as white, black, green and purple have been painted, which appear to reflect their surroundings, as if pools of water. At the edges of the painting, foliage and wiggly branches in green and browns can be seen, suggesting the street or park is outlined with trees. To the left in the painting, amongst the foliage, we can see two white area with circles in thin black lines painted at their center, possibly street lights or lamps illuminating the space. At the center of the picture we can see a culmination of abstract shapes in various hues of purple, green, brown, white and black. White thin lines cut through them, suggesting missing information and disintegration of the image. Across the top of these abstract shapes, purple and green lines in the shape of arches have been painted, making it seem as if the street or park is canopied or as if the surface of the image itself has ripples.

Close view of the mural in previous images. The mural is in rectangular landscape format, and hovers between abstraction and figuration. It appears to be painted from a digital photographic image that has disintegrated and become fragmented, such as through heavy compression or damage to the file. Whites, greens, blues, browns and purples dominate its palette. White is the dominant color, and seems to represent missing information in the image. Despite its abstract form and fragmented figurations, we can discern spatiality and perspective. The mural appears to depict an urban public space, such as a square. From the bottom of the mural, thin lines in various greens, purple and some yellow, extend into the center left of the mural where the vanishing point is located and all lines converge. In the sky in the upper part of the mural, similar thin lines are mirrored. About a third down from the top of the mural, we can see a horizon line made up from architectural elements such as a bridge, overground subway line, an elevated train track or a series of low buildings, painted in green, black and white. Along the horizon line, we can discern the fragmented silhouettes of people in the far. At the right edge of the mural, we can see a large building painted in brown and white. It has large windows and looks like either a train station or a shopping mall. The lines in the sky make the space look as if covered by a large dome, or as if there are surreal ripples on the surface of the sky.

View of a large painting in rectangular landscape format. The painting hovers between abstraction and figuration. It appears to be painted from a digital photographic image that has disintegrated and become fragmented, such as through heavy compression or damage to the file. Whites, greens, blues, and purples dominate its palette. Despite its abstract form and fragmented figurations, we can discern spatiality and perspective. The painting depicts a landscape and a road in the center leading straight into the image from the bottom, surrounded by what could be trees or cliffs on both sides. The road extends into about one fourth of the painting's height, and its end marks the vanishing point of the composition. The road is painted in a cool beige, and it has one dark brown and one white line, which appear as wheel tracks. It is narrow, possibly a rural gravel road, and it has spots of green in its center and along its sides. To its right, we can see an area of green grass as wide as the road. Along its sides, we can see white and blue marbled vertical abstract shapes stretching all the way to the top of the painting. They look like cliffs, forming a valley or passage way through which the road stretches. In a few of these shapes, fine vertical lines that look like water in blue, purple and white pour down the cliffs. We can also see green foliage and grass here and there, looking like small bushes and vegetation on the cliff sides. Far down the road, we can see a few vertical brown strokes, like tree stems, ending in green foliage. Slightly to the left above the point where the road vanishes, we see more of the vertical blue, purple and white lines looking like water, and some block-like brown shapes. Above these, we can see more tree stems and foliage and between them, in the center, a clearing where white light seems to shine through. White camouflage like patterns cut through most areas of the painting, suggesting missing information, fragmentation and image disintegration.

View of a large painting in rectangular landscape format. The painting hovers between abstraction and figuration, and is painted in a full spectrum palette of contrasting colors. It appears to be collaged from overlapping digital photographic images that have disintegrated and become fragmented, such as through heavy compression or damage to the files. White camouflage-like patterns and thin vertical lines in white, orange, yellow, brown and blue, cut through most areas of the painting, suggesting missing information and image decomposition. The painting depicts an urban setting, and we can discern an open space full of people, possibly a pedestrian walkway or square, surrounded by multi storage houses to the left, and residential buildings with ground level storefronts to the right. From the bottom right corner, white outlines purple rectangular shapes looking like large paving stones that extends to the center of the painting where one of  its vanishing points is located. The second vanishing point is located to the right in the painting, to which the pedestrian walkway also extends, creating a fork in the walkway marked by fragments of what looks like a corner building painted in black. In this area, we can see a crowd and clearly discern people as they move down the walkway, either towards or away from us. They are wearing clothing in colors such as orange turquoise, grey and black. Most of their faces are painted in white, as if information is missing. <br>Above the walkway we can see blue sky surrounded by tall buildings onto which fragments of people walking is superimposed. Around the vanishing point located to the left, and more in the center of the painting, a large white area can be seen, bisected with thin vertical lines in orange, yellow, brown and blue. Towards this area, people in a demonstration are moving, facing away from us, holding protest signs. They are fragmented but we can see that they are mostly men, wearing clothes in mostly red and blue colors. Some of them are wearing flags or banners draped over their shoulders in blue and yellow. A man in white and red striped sweater is raising his left hand, as if throwing something in the air. Above the white area towards which they are moving, we can see a police swat vehicle, facing away from us, to the left. Across this, we can see more fragments and outlines of people either standing or walking, in a direction towards or away from us. On the left side of the painting, we can see a less crowded area, of which the ground is painted in bright orange hues. We can see a few people moving across this area, their clothes in various hues of green, contrasting the orange. Higher up, we can see a multi storage building, possibly an office building with reflecting facade, painted in light purple, bright blue and green. To the right of the building, higher up in the painting, we can see another area that is almost completely whitened out. Here, the outlines of another police swat vehicle is outlined in light blue. It is facing away from us, and the back doors are open, and in front of them, we can glimpse two officers standing, talking to each other, painted in light green. Across this white area, the office building and the orange ground, we can see fragments of people walking up and down a street and thin, vertical lines in various colors cutting through the image.

Corinne WasmuhtPetzel, New York

Exhibition Images

Corinne Wasmuht
Petzel, New York