The artist meticulously built up this painting through a series of rapid and often dry brushstrokes he executed on top of lavender grounds. The resulting work features sharp compositional turns, as the artist changed course whenever any identifiable image or figure began to emerge on the canvas. Vlahovich has adopted an intuitive approach to painting in hopes of avoiding anything he deems representational. The result is a strange and stunning pictorial effusion that touches upon the history of 20th-century abstraction without alluding to anything in particular.
This work is part of a series of paintings by Tyler Vlahovich that range from dark and moody to bright and explosive. Following in the direction of his previous works, this series is a deeper interrogation into the possibility of abstraction—or more precisely, non-representational painting.
Tyler Vlahovich’s non-representational paintings aspire—and fail—to depict nothing much at all. His work, similar to the literary output of Samuel Beckett and Franz Kafka, is like a riddle in reverse. Vlahovich’s paintings serve as provisional answers to what seem to be fundamentally private questions—each work is like a spur of the moment challenge to painting itself.
Tyler Vlahovich was born in Tacoma, Washington in 1967.
Three solo exhibitions of Vlahovich’s work have taken place at Feature Inc. in New York City, from 2003 through its closure in 2014. Other solo exhibitions of Vlahovich’s work have taken place at: Feuilleton in Los Angeles, California (2020); Farbvision in Berlin, Germany (2018); Richard Telles Fine Art in Los Angeles, California (2017); Twig Gallery in Brussels, Belgium (2011); John Tevis Gallery in Paris, France (2006); and Mary Goldman Gallery in Los Angeles, California (2003).
Vlahovich lives and works in Los Angeles, California.
The artist meticulously built up this painting through a series of rapid, dry brushstrokes he executed on top of lavender grounds. The result is a strange and stunning pictorial that touches upon the history of 20th-century abstraction while remaining entirely non-representational.More