Liam Everett: ticklepenny lemon phosphate, Art Basel OVR:2021

Feb 8 - Mar 12, 2022
  • Liam Everett

    ticklepenny lemon phosphate

    February 9 - March 12, 2022

  • “I want to recognize the presence of repetition, to witness a series of returns. I’m rehearsing and redoing until I...
     

    “I want to recognize the presence of repetition, to witness a series of returns. I’m rehearsing and redoing until I don’t see where I’m going with the work or until I’m confronted with something that is uncomfortable, something other, something that can only be inherent to the work itself. It is not motivated by a visual or formal interest. Instead my intention is to incite a mood, a kind of physical-emotional state that is almost overwhelming or destabilizing.”

     

    – Liam Everett in conversation with Erin O’Toole, 2017

  • “Finished, it’s finished, nearly finished, it must be nearly finished. Grain upon grain, one by one, and one day, suddenly,...
     

    “Finished, it’s finished, nearly finished, it must be nearly finished. Grain upon grain, one by one, and one day, suddenly, there’s a heap, a little heap, the impossible heap.”

     

    – Samuel Beckett, Endgame, 1957

  • Throughout his oeuvre, Liam Everett has established the studio as a site of both investigation and rehearsal. His practice is mediated by a set of open-ended, continually shifting questions as to the influence of gesture, material, obstruction, and the environment upon his work. Rather than offering definitive answers, however, his paintings further elaborate these questions and act as records of the material encounters that occur within them.

  • For ticklepenny lemon phosphate, Altman Siegel is proud to present highlights from two distinct bodies of new work. In a selection of paintings atop screenprinted photographs, conceptual parallels can be identified with the tradition of absurdist and agitprop theatre. The inclusion of redundant gestures and spatial interventions – a figure’s face stuck to a table or a body replicated through the capabilities of the iPhone – further expand Everett’s quandaries into the nature of studio practice. While these works may suggest consistency in their visual assemblage, they are constructed so that each arises as a unique consequence of repetition and obstruction.

  • Likewise, a series of new paintings is born out of specific material limitations, studio conditions, and mundane interventions. In these works, Everett’s gestures, when repeated and layered, prevent the emergence of explicit meaning, often lead to the erasure of the artist’s hand entirely. At other times, however, this process generates novel visual content of its own making. It is in this way that his rigorous set of rules and barriers in the studio lead to a new kind of artistic freedom that allows Everett to be entirely present. Following his relocation from France to Northern California, Everett began to regularly produce paintings in a landscape format. Thus, an additional layer to his practice has become the question of light – more specifically how it is diffused, reflected, and exists as levels of clarity – on both a formal and conceptual level. As the environmental conditions of the studio shift and come to influence the alchemic construction of the work, these paintings slowly reveal themselves. This embrace of instability and faith in extrinsic conditions situate these pieces at the very center of the artist’s oeuvre.

    • Liam Everett Untitled (insula tiberina), 2021 Ink, oil, salt, ash and alcohol on linen 36 1/2 x 74 in 92.7 x 188 cm
      Liam Everett
      Untitled (insula tiberina), 2021
      Ink, oil, salt, ash and alcohol on linen
      36 1/2 x 74 in
      92.7 x 188 cm
    • Liam Everett Untitled (ticklepenny lemon phosphate), 2021 Ink, oil, salt, ash and alcohol on linen 36 1/2 x 74 in 92.7 x 188 cm
      Liam Everett
      Untitled (ticklepenny lemon phosphate), 2021
      Ink, oil, salt, ash and alcohol on linen
      36 1/2 x 74 in
      92.7 x 188 cm
    • Liam Everett Untitled, 2021 Ink, oil, salt, ash on linen 31 3/4 x 23 3/4 in 80.6 x 60.3 cm
      Liam Everett
      Untitled, 2021
      Ink, oil, salt, ash on linen
      31 3/4 x 23 3/4 in
      80.6 x 60.3 cm
    • Liam Everett untitled (aesculapius etc.), 2021 Ink, oil, salt, ash and alcohol on linen 36 1/2 x 74 in 92.7 x 188 cm
      Liam Everett
      untitled (aesculapius etc.), 2021
      Ink, oil, salt, ash and alcohol on linen
      36 1/2 x 74 in
      92.7 x 188 cm
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    • Liam Everett Untitled, 2021 Ink, oil, salt, ash on linen 31 3/4 x 23 3/4 in 80.6 x 60.3 cm
      Liam Everett
      Untitled, 2021
      Ink, oil, salt, ash on linen
      31 3/4 x 23 3/4 in
      80.6 x 60.3 cm
    • Liam Everett Untitled (quantum mutatus ab illo), 2021 Ink, oil, salt, ash and alcohol on linen 37 x 78 in 94 x 198.1 cm
      Liam Everett
      Untitled (quantum mutatus ab illo), 2021
      Ink, oil, salt, ash and alcohol on linen
      37 x 78 in
      94 x 198.1 cm
    • Liam Everett Untitled, 2021 Ink, oil, salt, ash on linen 31 3/4 x 23 3/4 in 80.6 x 60.3 cm
      Liam Everett
      Untitled, 2021
      Ink, oil, salt, ash on linen
      31 3/4 x 23 3/4 in
      80.6 x 60.3 cm
    • Liam Everett Untitled (the glow of that old frenzy), 2021 Ink, oil, salt, ash and alcohol on linen 36 1/2 x 74 in 92.7 x 188 cm
      Liam Everett
      Untitled (the glow of that old frenzy), 2021
      Ink, oil, salt, ash and alcohol on linen
      36 1/2 x 74 in
      92.7 x 188 cm
  • Liam Everett in conversation with Natasha Boas

     Thursday, February 10, 2022, 12pm PST

     

    Liam Everett discusses his exhibition of new paintings, ticklepenny lemon phosphate, with curator, writer, and critic Natasha Boas.

     

    Natasha Boas, Ph.D is an international independent curator, scholar, and critic based in San Francisco and Paris. Dr. Boas understands curating as a form of problem solving and a way to work through art historical challenges posed by certain artists. She is currently working with Zineb Sedira who is representing France at the Venice Biennale. Her next show, entitled Brad Kahlhamer: Swap Meet, opens March 4, 2022 at Scottsdale Museum of Contemporary Art, supported by the Warhol Foundation, along with Capturing Space: New Works by Teresa Baker.

  • Liam Everett (b. 1973) lives and works in Sebastopol, California. Everett’s work has been the subject of solo exhibitions at...

    Liam Everett (b. 1973) lives and works in Sebastopol, California. Everett’s work has been the subject of solo exhibitions at Altman Siegel, San Francisco, CA; Galerie Greta Meert, Brussels, Belgium; Kasmin Gallery, New York, NY; Musée des Beaux Arts de Rennes, Rennes, France; Galerie Art & Essai, Université de Rennes, Rennes, France; Kamel Mennour, Paris, France and London, UK; San Francisco Museum of Modern Art, San Francisco, CA; Eleni Koroneou Gallery, Athens, Greece; Office Baroque, Brussels, Belgium; and White Columns, New York, NY. Group exhibitions include Fondation Carmignac, Paris, France; Galeria Nara Roesler, Sao Paulo, Brazil; Museum Dhondt-Dhaenens, Deurle, Belgium; Arndt, Singapore; Berkeley Art Museum and Pacific Film Archive, Berkeley, CA; Institute of Contemporary Art, San Jose, CA; Anat Ebgi, Los Angeles, CA; Headlands Center for the Arts, Sausalito, CA; Wattis Institute, San Francisco, CA; and Canada, New York, NY.

  • For more information contact info@altmansiegel.com or 415.576.9300.