In presenting ten plank-like paintings for the exhibition, the artist critiques the Western modernist trope of minimalist paintings leaning on walls. Influenced by artists such as John McCracken, Blinky Palermo, Raoul de Keyser, Marthe Wery, and Jo Baer, the artworks challenge the boundary between sculpture and painting.
By infusing kitsch and pseudo-abstract elements onto what would have been minimalist modernist canvases, the artist seeks to subvert the conventional standards by which painting is traditionally measured. This choice reflects a disdain for art conventions and aims to question the dominance of the Western historical canon in the mainstream art narrative.
