reverting impressionist attempts at revealing painting's construction that Prekop turns into a game, all the jazz hands of "how's it made." It’s easy to say what is good about these. There's a level of illusionism defeating their ostensible lineage - abstraction's - matter-of-factness. We have a trust in abstraction that it isn't attempting to "hide" anything from us, its paint merely there, that these utilize against us as bait. Set the parameters and run. To mess the usual temporal signifiers of painting, what's on top not necessarily laid last, making for a confusion of the hand and appearing printed. Flat Cubism. Painting as the interesting display of its information, solving the problem of painting by heaping more on, a less neurotically charged Hans Hoffman's "push and pull" theory, painting reduced to interesting conditions.
see too: Zak Prekop at Shane Campbell
