NEW YORK – MILES MCENERY GALLERY is pleased to present an exhibition of new works by Markus Linnenbrink for his fourth solo show with the gallery. A reception will be held for the artist on 7 February from 6:00 to 8:00 p.m. at 525 West 22nd Street and the exhibition will be on view 7 February through 9 March. It is accompanied by a fully illustrated publication, featuring an essay by Frédéric Caillard.

Markus Linnenbrink’s energetic, three-dimensional paintings and sculptures are an experience of time and color. In this series of works, Linnenbrink challenges viewers to contemplate the idea of time in art: how a moment may be captured and sustained within an arrangement of color.

To create his glossy and brightly colored “drips”, the artist blends epoxy resin with powdered pigments, and then applies the medium to a wood panel over a watercolor-like background painting or an old personal photograph. This process creates a curtain of color that allows Linnenbrink to provocatively invite viewers into the depth of his paintings. The liquid interacts with gravitational force to render vertical stripes over his chosen back grounds. Additionally, Linnenbrink utilizes the nature of this process and transforms the overflow to create other signature paintings. These three-dimensional paintings are made by layering this pigmented resin which the artist drills and carves deep jagged rifts that result in a magni cent geological topography.

For this exhibition, Linnenbrink also presents “DAYLIGHTTEARSTOMYEYES.” Fusing together acrylic, pigment, and sumi ink on wood and aluminum core, Linnenbrink pushes his installation practice further. Black and white on the exterior–and color on the interior, his “room within a room” is an expansive, three-dimensional work that adapts to both the allowances and limitations of its environment.

Through his exploration of color and its impact on visual beauty, Linnenbrink continues to emphasize the emotional, expressive, and pictorial qualities that are found in abstract art, using shapes, colors, forms, and gestural marks to achieve his desired effects. As Frédéric Caillard describes, Linnenbrink’s works are “...a celebration of life, of its inner mechanism, of its ability to learn from history but also of its tendency to repeat the same mistakes, to regenerate, to grow on its own ashes. This very contrast–between the earnest and the joyful–is at the core of his practice.”