'Buzz', 2016 Spray Paint & enamel on board, 20 x 20 x 1 in 56 x 50 x 3 cm
'Situational Melody',2016 Spray Paint & enamel on board 38.5 x 26 x 1 in 98 x 67 x 3 cm
'Buzz', 2016 Spray Paint & enamel on board, 20 x 20 x 1 in 56 x 50 x 3 cm
'Buzz', 2016 Spray Paint & enamel on board, 20 x 20 x 1 in 56 x 50 x 3 cm
'Situational Melody',2016 Spray Paint & enamel on board 38.5 x 26 x 1 in 98 x 67 x 3 cm
'Buzz', 2016 Spray Paint & enamel on board, 20 x 20 x 1 in 56 x 50 x 3 cm
'Buzz', 2016 Spray Paint & enamel on board, 20 x 20 x 1 in 56 x 50 x 3 cm
'Situational Melody',2016 Spray Paint & enamel on board 38.5 x 26 x 1 in 98 x 67 x 3 cm
'Buzz', 2016 Spray Paint & enamel on board, 20 x 20 x 1 in 56 x 50 x 3 cm
'Untitled (Pink)', 2016 Acrylic on canvas 63.5x88 in 161x223.5 cm
'Untitled (Blue)', 2016 Acrylic on canvas 63.5x88 in 161x223.5 cm
'Untitled (Pink)', 2016 Acrylic on canvas 63.5x88 in 161x223.5 cm
'Untitled (Pink)', 2016 Acrylic on canvas 63.5x88 in 161x223.5 cm
'Untitled (Blue)', 2016 Acrylic on canvas 63.5x88 in 161x223.5 cm
'Untitled (Pink)', 2016 Acrylic on canvas 63.5x88 in 161x223.5 cm
N. Dash
Untitled, 2020
Adobe, acrylic, string, graphite, jute
99 x 84 cm | 39 x 33 in
SELECTED EXHIBITIONS
curated by Friederike Nymphius
May 14 - October 2, 2021
ARTISTS
John M Armleder, Monica Bonvicini, Martin Boyce, Valentin Carron, Andrew Dadson, N. Dash, Philippe Decrauzat, Francesco De Prezzo, Gardar Eide Einarsson, Manuel Fois, Liam Gillick, Fernanda Gomes, Francesco João, Tarik Kiswanson, Alicja Kwade, Beth Letain, Meuser, Gerold Miller, Olivier Mosset, Gerwald Rockenschaub, Monika Sosnowska, Blair Thurman, Tatiana Trouvé, Franz Erhard Walther, Heimo Zobernig
In all of N. Dash’s works, there is an emphasis on the importance of touch and the body’s inherent corporeal intellect. Before language, there is touch. Touch is the implicit and intuitive compass for how we navigate a world where the sensual is inseparable from the perceptual and conceptual. This understanding remains largely unspoken, symbol of a language of an entirely different nature, passed down through our genes, our culture and our technologies.
N. Dash writes about Untitled: Earth is excavated from the New Mexico high desert and shipped to the studio in New York where it is rendered into a mud/pigment plaster. The paintings are constructed of multiple components and deposits of natural pigments.
Some of the lines are graphite, they catch the light nicely when the body moves around it. The lines are made of strings that are embedded within the dried mud. The top string has been partially removed, to reveal an index of where the line was laid and then brought up - so the tool that was used to make the index is still there.