Untitled (Panel 3), 2015
acrylic on panel; 8 x 8 inches
Julie Oppermann’s work pushes the limits of visual perception, making paintings that are physically difficult to perceive. The scintillating effects arising through the calculated layering and juxtaposition of contrasting colors through repetitive line patterns elicit shuttering afterimages, optical flicker, and disorienting sensations of movement. The paintings, on one hand, reference the digital, looking as if they might be computer-generated, vector-based interference patterns; up close, however, they reveal a gestural, intuitive approach. Glitches, bleeds and mis-registrations rupture the illusory field of the moiré, creating visual noise and also highlight the basic tools at work: taped-off line patterns and paint on canvas. Where others approach ideas such as rasterization, pixelation, image compression, data loss and corruption primarily through the more obvious channel of digital media, Oppermann succeeds, instead, by effecting these phenomena directly through the medium of perception itself. The glitch, so to speak, occurs in the viewing of the work, by distorting the viewer’s field of vision, and interfering with their ability to “see” and look at the painting.
Oppermann will also be featured in the upcoming exhibition titled, PROCESS, curated by Matthew Gardocki at the Barrick Museum at the University of Nevada Las Vegas which opens to the public on January 20 and continues through May 13, 2017. The Opening Reception is on January 27, 2017 (from 5-8pm).
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