Prekop has notably remained unphased, almost unchanged, for the last decade. There's a sense of - like fractals - any one Prekop painting already contains every other Prekop painting, you just need to change the level of vantage. Even the color has remained a consistent off-crayola. A palette called Millennial Realtree. (Camo for the average Brooklyn apartment.) The pleasure of these paintings, succinctly stated, is abstraction turned to labyrinth. Not Stella's "what you see is what you see." But painting the puzzle before assembly. "obfuscates any sequence of steps that were taken." Which we are Jack Torrance and painting the boy sweeping away footprints in snow, us hunting for the meat, for the tender innards of poor painting. Painting must build defenses, attempt to elude apprehension, axe.
See too: Charline von Heyl, Tomma Abts, Zak Prekop at Shane Campbell, Zak Prekop at Essex Street
