Before and Aftermath, installation view, Josée Bienvenu Gallery, New York

Little Trouble Spots, 2007, ink on paper, 17 x 14 inches

Traces of Leftover, 2007, ink on paper, 9 x 12 inches

Founded, 2007, ink on paper, 14 x 17 inches

Accompanied Back in the Night, 2007, casein on wood, 47.5 x 47.7 inches

Final Comment, 2007, casein on wood, 15.75 x 15.75 inches

Robert Jack

Before and Aftermath

January 10 – February 23, 2008

Josée Bienvenu gallery is pleased to present Before and Aftermath, an exhibition of new paintings and drawings by Robert Jack. Robert Jack lives and works in Brooklyn. It is his fourth solo exhibition in New York.

A work by Robert Jack is a silent process, an osmotic and homeopathic development. Every surface hides a symbiotic network wherein each element is linked to the next forming a tenuous chain. For the past few years, his work has been based on the circulatory systems of plants, making visible a vital and basic aspect of life that is overlooked due to its scale. From photosynthesis in plants to the occult intentions of any information system, the world is governed by the imperceptible. Bits, genes, and viruses are the decisive structures of our future, the invisible forces of good and evil we blindly dialogue with everyday.

This new group—comprised of twelve paintings and five drawings—is also based on microbiological structures and forms but they all relate to viruses and bacteria that can affect humans. The title of the show refers to before and after contamination. In the end, there is little difference between the two states in terms of structure, and the before and after become merely two separate elements in one continuous flow of the process of evolution and change. Every aspect of reality becomes quietly interconnected.

Robert Jack makes these invisible mutations the main protagonists of his paintings and drawings. He amplifies, illuminates, and captures them on small square panels or on paper. His work documents crucial variations of structures, possible abysses and invisible gaps. He accumulates signals, vibrations and variations impossible to detect without an extraordinary level of attention.

The paintings evolve continuously by the pull and manipulation of the same building blocks into new configurations. Everyone’s fate depends on these invisible processes. Robert Jack portrays them slowly as imaginary landscapes of color and form. He invents epic, sometimes psychedelic under-the-microscope scenarios, encapsulating intimate rhythms and hazardous colors, in between the healthy and the toxic.