•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

EXHIBITED AT THE SAATCHI GALLERY

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Luke Rudolf
Portrait No. 18

2010

Acrylic and oil on canvas

190 x 160 cm
Luke Rudolf’s portraits are not immediately obvious. What at first may appear to be abstract paintings that bring together sweeping brush marks and hard edge geometry, slowly reveal the suggestion of a face. In making his work, Rudolf draws from the traditions of modernism, where initially abstraction was an act of reducing an image down to an unrecognisable form. Rudolf’s process engages with this idea in reverse, bringing together expressive gestures and angular shapes so that they hover on the point of recognition.
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Luke Rudolf
Portrait No. 19

2010

Acrylic and oil on canvas

150 x 125 cm
Through his work Rudolf explores our drive for cognition: it’s human nature to identify a face, no matter how distorted or extreme the visual cues. His canvases tap into our instinctive hardwiring and describe psychological or subconscious experience. His paintings are equally seductive and violent: the fluid brushstrokes cut through by fragments of geometry suggest flesh and shrapnel. His lurid colours and highly textured surfaces are both tacky and beautiful, and convey a potentially sinister mysticism in their trippy psychedelic style. Rudolf activates our ancient instincts in a way that appeals to our contemporary sensibilities.
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Luke Rudolf
Portrait No. 20

2010

Acrylic and oil on canvas

174 x 145 cm
In modernist abstraction the emphasis was placed on the authenticity of an artist’s expression, where the creative spontaneity of a gesture is what made it unique. However, in Rudolf’s paintings his original brushstrokes are selected, dislocated, and carefully reconsidered. The idea of the synthetic is important to Rudolf’s work and is conveyed through his use of acid-colour, fluorescent, and faux metallic paint. His super-saturated surfaces, which are multi-layered with exaggerated textures, convey the commodified seduction of plastic, as well as the luminous glow of digital screens.

OTHER RESOURCES

artfacts.net
Additional information and images – Luke Rudolf

lukerudolf.com
The artist’s website

katemacgarry.com
Luke Rudolf at Kate McGarry gallery, London. 7 May - 13 June 2010

artslant.com
For his first solo exhibition at Kate MacGarry Luke Rudolf pitches some truly ’in your face’ statements. Called portraits, they are in fact a long way removed from any comfort zone of easy recognition. The paintings appear spontaneous, chaotic, but take a closer look at the cool grey triangles that intersect swept gestural brushstrokes. The hard edged segments lie before and behind the freehand marks. Each painting is really a calculated composite of different elements: an intricate picture puzzle that re-configures tropes of modernism.

independent.co.uk
'My paintings hijack the visual language of modernist abstraction and the figurative tradition of portraiture by using the signifiers of abstraction itself to determine the features that form the resulting pseudo portraits. By creating a psychological domain that requires a cognitive, physiognomic and often darkly humorous unraveling on the part of the viewer, I propose a disruption through the destabilising of values and rationales that are brought to the work.'