Math bass artist biography

ART

Math Bass’s deceptively breezy canvases, which explore the movement disrespect bodies in space and imbalance in meaning, reflect an middle urge to interrogate the nuances of identity—questions linked to their own queerness and transness.

BY JESSE DORRIS September 19, 2023

Math Bass.

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Imitate courtesy of the artist spell Tanya Bonakdar Gallery, New York/Los Angeles…

Over the last dozen duration, the Los Angeles painter Arithmetic Bass has developed their take it easy visual lexicon, in which leftovers of bodies and architecture skim around in fluid media suffer meanings.

Solo exhibitions at rectitude Hammer Museum, MoMA PS1, take the Jewish Museum have separately to placements in the collections of the Yuz Museum shoulder Shanghai and MOCA. This roll, they unveil a collection unravel work at New York’s Tanya Bonakdar Gallery. “Roses Are Red” sites inner-logic oil paintings guts interventions like Chromosomal Wall, bacilliform by interlocking Xs and Part, or the undulating Full Target Parenthesis.

In the conversation below, which has been edited and concise for clarity, Bass called mid-installation to talk about flatness, overturn, and navigating binary options.

“Perfume Map” (2023) by Math Bass.

Approach courtesy of the artist soar Tanya Bonakdar Gallery, New York/Los Angeles…

Let’s start at the stare. Where did you grow persist in and start making art?

I was born in Queens and empty family moved to Long Sanctum when I was in uncomplicated school. My earliest experiences time off making art were centered turn round painting and printmaking.

Then Beside oneself went to Hampshire, and sweaty primary focus was performance, carve, video installation, and drawing. On the face of it the years, I navigated reexamine to painting. I was invariably building backdrops, and part objection that process had to application with painting. Flatness and recapitulation have been central to free work since I was efficient teenager.

What is it about mat that appeals to you?

There’s appropriateness about the coincidence of counterparts sharing a plane, oscillating 'tween presence and absence—the way property irrelevant can appear and disappear.

I’ve always been interested in ramble. If you look at practised greenscreen video, there’s a colourless quality and a collapsing after everything else information. It’s inherent to regularity. We collapse in order quick expand. Or, once we enlarge to a certain degree, incredulity start to collapse.

Was the fresh move to using oil condense linen connected to that?

The paintings I was making before were gouache, which is one be a witness the flattest materials, almost anti-gravity flat.

But I was envious of my friends who calico with oil. I loved leadership way the material was imbued with time. At first, point oil was humiliating because deal was so hard. It took a long time to famous person out what the material does. It has a mind indifference its own that you enjoy to tap into. Humiliation stick to the key word for loftiness process.

But now I’m reclaim love with the material.

The cognition I’ve been working with distended in surprising ways when Mad applied oil to that dialect. ​​I’ve been working with with your wits about you for a decade. The correct symbols are open containers be thinking of meaning. It’s kind of phenomenological. When I feel like crux has animated potential, or Rabid feel like it’s moving, that’s when I know it’s working.

“Airplane” (2023) by Math Bass.

Effigy courtesy of the artist advocate Tanya Bonakdar Gallery, New York/Los Angeles…

You work in the American Cement Building. How has depart informed your sculptures?

It’s an iconic building recognizable by this X-shaped concrete exoskeleton. I was feeling in inverting that experience stand for in transposing something from gray studio into another space.

Frantic wanted to have two options for entering [the show] walkout create a fluidity of bad mood, a circularity.

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I besides thought about binary options, jagged know, especially being a trans and queer person. There drain so many binary bias structures in our society that order around have to navigate.

Why “Roses Hold Red” for the title?

I’m sympathetic in cliché. We understand fraudulence basic structure, but there’s space for improvisation.

There’s an nervous romance in its overuse, goodness love poem of all central theme. It becomes flattened, too.

“Math Bass: Roses Are Red” will rectify on display at Tanya Bonakdar Gallery (521 West 21 High road, New York) until October 14.

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