ALLAN BEALYSURFACES07.07-18.07.1975

ALLAN BEALY (Canada) — “Surfaces”

Allan Bealy from Canada is exhibiting at Galerie S:t Petri from July 7 to 18, 1975.
The exhibition, titled “Surfaces”, consists of various surface materials — images and sequences that have been explored and, in this context, have acquired a broader meaning.

The sawtooth motif and the parallel lines have thus become a kind of signature for the presentation of different types of paper, colors, and patterns.
What is important in these works lies neither in the drawing itself nor in the surface, but rather in the somewhat metaphysical area where these surfaces become “individualized” through the signature of the drawing.
They become both artworks and relics.

Over the past two years, Allan Bealy has attempted, using ordinary materials (such as cardboard and plywood), to present archetypal and simple images in a fragmentary and archaeological manner, situated between representational and abstract pictorial language.
He has worked with sequences, modular forms, and “open” works — meaning a fragmentary presentation, not fragmentation as such, but one that still contains the entire cosmology of the image.
This should be compared with the “closed” work, which only shows details and gives hints but refrains from presenting the image in its entirety.

This is the first time Allan Bealy exhibits his work independently in Europe.
He has previously shown his work together with others in Italy, Switzerland, South America, and the U.S.A.

The exhibition is open weekdays from 18:00 to 20:00.

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(Text from the exhibition poster.)

SURFACES, THE WORKS THAT ARE SHOWN AT GALERIE S:T PETRI, ARE EXTENSIONS —
EXPLORATIONS OF VARIOUS SURFACE MATERIALS, OF IMAGES AND SEQUENCES
I HAVE BEEN WORKING ON FOR THE PAST TWO YEARS.

THE SAW-TOOTHED MOTIF AND PARALLEL LINES LEND THEMSELVES AS A TYPE OF SIGNATURE
FOR THE PRESENTATION OF VARIOUS TYPES OF PAPER, COLOR, AND TEXTURE.

THE IMPORTANT ASPECT OF THESE WORKS DOES NOT LIE IN EITHER THE DRAWING
OR THE SURFACES BY THEMSELVES, BUT RATHER IN THE SOMEWHAT METAPHYSICAL SPACE
WHERE THESE SURFACES BECOME INDIVIDUALIZED BY THE SIGNATURE OF THE DRAWING.
THEY BECOME ARTIFACTS AND RELICS.

IN THE SAME WAY, MOST OF MY WORK HAS ATTEMPTED, DURING THE PAST TWO YEARS,
TO PRESENT ARCHETYPAL AND POPULAR IMAGES (SUCH AS GIBRALTAR, THE PYRAMIDS, SAW-TOOTH MOTIF)
IN A FRAGMENTED, ARCHEOLOGICAL MANNER ON COMMON MATERIALS
(SUCH AS CARDBOARD AND PLYWOOD),
BORDERING SOMEWHERE BETWEEN REPRESENTATIONAL AND ABSTRACT IMAGERY.

I AM CONCERNED WITH SEQUENCE, THE MODULAR FORM,
AND THE OPEN WORK WHICH IMPLIES FRAGMENTATION —
BUT IN THAT FRAGMENTATION CONTAINS THE WHOLE COSMOLOGY OF THE IMAGE.

THIS STANDS IN CONTRAST TO THE CLOSED WORK, WHICH, IN ITS FRAGMENTATION,
SHOWS ONLY DETAIL AND IMPLIES BUT DOES NOT SHOW THE WHOLE AND PERFECT IMAGE.