There is a moment before
and after a video plays that the screen becomes a void - a frame filled with
blue that signifies a period outside of normal transmission.
It is the afterglow of
this screen coulour that has triggered the paintings in Noel Ivanoff's new
series of paintings - "Split Infinitive".
Working within a restricted
palette that references the vacant space of the blue video screen, Ivanoff
invites the viewer to contemplate the structure, the surfaces and the dominant
colour of his works. The longer they are contemplated, the more the colour
seems to shift and shimmer.
Each work comprises a
painted panel worked in oil paint that has been stiffened with beeswax, and
a companion mono print on dacron that is taken from the final layer of paint
before it dries.
Ivanoff says the duality
that plays between the panel and its companion piece sets up a series of visual
panel looks like the solid, positive part of the work. But the dacron
tracing, because of the way it absorbs the paint, appears to betray more
evidence of the brush strokes. The positive/negative relationship between
the two elements of each work resists definition - in the same way that
the blue video screen appears empty of content, but can be perceived as
a rich, layered block of colour."
quality of the tracing and the solidarity of the panel, as well as the repetition
of the 'video blue' conspire to unsettle notions of visual memory and perception
is dominated by two monumental works. In his previous show ("Tracing
Colour"), Ivanoff used drafting film to create traced images. The decision
to instead work with dacron has provided much greater flexibility in terms
of size and scale. This has freed Ivanoff to make paintings that almost engulf
the viewer's range of vision, while other smaller works in the show serve
as their echoes and seem to return us, in their intimacy, to the format of
the Television screen.
Jay Louisson (2001)