Avery Preesman’s paintings dominate the visual field, thanks to irregular surfaces marked by a vibratile luminosity. At the same time, the characteristic stratifications of brushstrokes and the sense of distance that they emanate also heighten the works’ tactile sensibility.
With its distinctive silvery tonalities, the brilliance of which is muffled by gray tones that intentionally recall the heaviness of cement, Hang II, 2005, is a sort of opaque mirror that does not reflect images. The work evokes a sense of suspension and encourages the active participation of viewers. The time that the eye employs to run across its surface corresponds to the attainment of a physical and mental experience, open to each person’s free interpretation. [...]