Painting

A Precedes B – Lorenza Panero

A Precedes B 

Works by Four Artists 

David Richard Gallery 211 East 121 Street New York NY 10035 

Opens 9 March 2022
Reception 12 March 2022 2-6 pm 

Lorenza Panero
Return to The Desert, 2018
Unique cibachrome photogram 58 x 50 inches 

Lorenza Panero calls forth memory, and how descriptions of it are made visible. Light is her principal medium, and her practice is rooted in the irreducibility of language. Panero’s poetic shorthand allows for the layering of meaning and understanding, with intent driven by an articulation of that which grounds experience. This makes room for an emotional transparency where the weight of being is illuminated, and made plain. 

Panero’s luminography, a way of making photographic images without a camera, asks how surface might be susceptible to impressions bearing the heft of a past which mark a fleeting present. Her unique images are captured by simply laying material out before her, and exposing it to light. The hand thus takes precedence over the privilege of the eye. These performative gestures undermine similitude by implicating a fragile instability which strikes against any picture from inside or out. Most remarkably, these processes nonchalantly displace an entire apparatus from its position of ocular authority within our regime of sight. 

Reflective of the communication networks outlined by Vilém Flusser, Panero furthermore negotiates open space as an analogue which mitigates against the contemporary order of things. Flusser argued for intervention opposed to the circumscription of a programmed world, and championed activities which were in dialogue with a materialism capable of shaping the numerical, imaginative, and textual conditions of our apprehension of things. Flusser’s assertions were drawn from traditions which inform histories spread across many fields, and in particular may be read as redressing a modernity which established its methodical systemization of the visual with the introduction of perspective. Panero, for her part, seems to suggest this predicament remains a burden from which an interdisciplinary approach to media may free us, in part by linking technological developments to the ethical goals of a neo-humanist society. 

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