When I watch a Robert Janitz painting, the image materializes only to disappear. This movement, its blur, emulates the technological screens of our present. Hung parallel, the installation of works conflates paint with space and media. First, we can see these paintings set up equitably around the room. Spread out horizontally, slung against the wall. The vertical frames wend their way around. Lined up one after another, the canvases box the images on the inside. On the surface of each work a gradient of color. The ascension of the ombre fills the canvas to produce a transition, smooth. Against this ground large wide brushstrokes form another layer, a wipe. The up and down brushstrokes detach from the corners of the image; they guide the eyes in a certain kind of looping rhythm. Over the course of a month, these marks develop, alter in color. And so, as I scan, I see two time-based process: the first of minute, closed brushstrokes that form a gradient and the second open brushstrokes submitted to a photo-synthetic process. The open strokes fix the image of the gradient in place; they too alter in their appearance. The image fluctuates, transmitting and receiving.
Until Saturday 5th August 2017.