Brent Hallard works manipulate space and perception using simple arrangements of geometric forms. Yet, Hallard also strives to keep his work grounded and “push against the more pure concerns of abstraction” by incorporating humor and ‘everydayness’. In turn, his works assume a playful ambiguity, which is compounded by his use of bright colors. Brent’s work has been shown internationally across the United States, Europe and Asia. He was also included in Doppler, a group show organized and curated by our very own Mel Prest. 

Catch Brent at the opening of Here&Now, August 8th.

Volume digital template for a wall drawing, 2010

Festival International D'art Non-Objective
Moulin De VillanCourt - 83 Cours Saint-Andre - 38800 Pont de Claix
Back to Basics

Pam Aitken (au)
Christoph Dahlhausen (de)
Caroline de Lannoy (be/uk)
Matthew Deleget (us)
Daniel Göttin (ch)
Billy Gruner (au)
Brent Hallard (jp/us)
Clemens Hollerer (a)
Andrew Huston (us)
Sarah Keighery (au)
Roland Or.pük (fr)
Charles Payan (fr)
Jacek Przybyszewski (pl/fr)
Paul Raguenes (fr)
Giles Ryder (au)
Sato Satoru (jp/fr)
Karen Schifano (us)
Bogumila Strojna (pl/fr)
Tilman (de)
Richard van der Aa (nz/fr)
Jan van der Ploeg (nl)
Henriëtte van ‘t Hoog (nl)
Guido Winkler (nl)

Contact : 04 76 29 80 05 / /
14 fév. /5 avril 2011 ( Du lundi au samedi / 15h - 19h )

INSTALLATION: Glow – Henriëtte van ’t Hoog

Henriëtte: Well, I have been poking around for a while hoping to make people aware of color and shape, and of non-existing space. In Joint I transformed a little area into something new and unexpected, joking around with color and shape while not knowing where it would lead – just having fun, and working through ways that would perhaps mislead the audience.

I always trust myself to find the next step in the direction I am going, but this is also scary, I can tell you. But usually the work I’ve just completed hints to what is going to happen next, even if I’m not totally aware of it.

I like the idea of making something that nobody has seen before. Although I am aware that everything has been done already, it doesn’t matter. I am also aware that I’m working in a tradition, but that doesn’t matter either. Actually I think it’s a strength knowing that I am working in a tradition. There is a chance to break all the unspoken rules. And then you find out that what you have to do is invent new ones, your own rules, otherwise the work doesn’t work. And this is odd, and interesting, and matters.

But back to the little installation Joint: It was situated in the smallest of spaces, called the cupboard, at the exhibition space RC de Ruimte in IJmuiden, nearAmsterdam. It was easy to pass by the space without noticing that there was anything inside. You had to pop your head through the opening to see the work: peek-a-boo indeed!

Brent: With Joint you went into the area and started from scratch, building up the intoxicating planes, the mischief space, along with decisions of color, while you were there. In a manner, Joint was built for the cupboard.

Your architectural use of space, the modernist sense of absence, the trace to Sol LeWitt that disintegrates along the way, the fold, the feel, the synthetic, even a sense of loss when an area is cut off or cut out replaced with a solid bit of air, then when on closer view the material surfaces, the color that sits on and bounces off and back, all tally trouble but also to structure.
What do you expect someone to do with this?

Visual Discrepancies is a research blog dedicated to the thought processes and material necessities, the risks involved, for artists who are getting there where art is at.

Brent Hallard
San Francisco

source / read more: Brent Hallard- Joint / Visual Discrepancies Blog: Brent Hallard

Deep Black

There is a punk painting by Billy Gruner and a couple of kiss paintings. One kiss is painted directly on to the wall, and is designed by this speaker, with the title taken from the onomatopoeia sound of mice nibbling, in Japanese chu chu”. Another piece, formally a readymade–a black square table napkin–is later manipulated with color and pencil. Large would be a table cover, small the napkin–this work by Candida Alvarez.

The title of the show is Deep Black. There is a lot of black, though white predominates, that being the color of the wall.
The show is spare: one napkin; one wall piece; and one original punk painting dated 2011, none of which are all black, and all to which seem to have their roots in the everyday. Everything is abstract, or is it? Or can someone explain it out a little further… the individual work, the practice, the attempt at a unifying theme, or the disarray of it?


CAmy sister is always putting the past behind her-Well I use the past to make my pics and I want all of it and even you and me in candlelight on the train and every “lover” I’ve ever had–every friend–nothing closed out–and dogs alive and dead and people and landscapes and feeling even if it is desperate–anguished-tragic–it’s all part of me and I want to confront it and sleep with it–the dreams–and paint it

                                                    –Joan Mitchell*


Here, deep black represents anticipation. It is like walking into a movie, once the picture has started. Memories, too, are like the everyday. They are abstract, swirling around in invisible space, until needed. My painting, “A Kiss” begins with a photo snapshot meeting a ready-made black ground.  Drawing pulls it close, like a microscopic lens.  In this painting, the picture transforms into an architecture of color-forms.  The foundation is the photo, which gets shredded through drawing to serve as the memory pulp for painting. Disarray, is the common denominator here.

Deep black is sexy, no? In my painting, a sliver of black barely visible at first glance, fights for dear life to get noticed on a formal level.  It is the deep black and like the kiss, reverberates throughout the painted body. In this conversation, I am nothing but that small glimpse of “black magic women.” Go towards the dark. There is always something there, waiting to be noticed.

BG I like the title Deep Black because it refers in many ways to a kind of mystic reading I like more and more, deep space implied for instance. But also a kind magic nature is summoned, its fun in many ways. The so-called punk works come from a long way back and issue from a certain aesthetic response, and many of these are done in black. The stripes just sit there vibrating without any pretense to design or meaning. These ongoing works are made simply, from ordinary inexpensive materials and have long been linked to a DIY understanding–that was punk’s greatest achievement. I have always admired the democracy of means and sense of lowbrow aspiration associated, and for these reasons I have always been a Post Punk style of artist. These works attempt to restate my interest in what my overall body of social oriented works may represent. Regardless these impromptu works done on site with a poverty of means have broader meanings than that, and have an almost Asian aesthetic response also: simple, repetitive, reflective, and utterly unique from each other despite the system of reproduction. The works emerge out of a longer background i.e., the tape works that I still do, and, the stereo works which have a music connection. I don’t believe I have to reinvent the wheel at present, I just like to make work that produces its own dialogue and I like how that resonates with other artists’ works, so difference for me is cardinal. In this case the relationship to colour and to its apogee, blackness is placed under discussion - this collective dialogue albeit in visual terms when paintings are used is referred to in the black paint, the gesturing of the stripes. Importantly, the act of making the punk works is symbolic, they are made just prior to exhibition or even during, so they are immediate, it is performative by nature.

* Lady Painter, A Life, by Patricia Albers.