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Whereas Jonas Wood highlights the rendered pressed through the grate of subjectivity (expression), Benson's accuracy in strategic non-expression, like Celmins or Sturtevant, the lack thereof (of expression), neutering the subjective, the closer it can be to being without qualities, is its psychedelic quality. The paintings warble in closeness to a reality that they fail to produce. The black object marks it with a wink, a game. The mistakes are its value. Banal and iridescent.
and so see too: Jonas Wood at David Kordansky , Mathew Cerletty at Office Baroque , Jana Euler at Kunsthalle Zürich
