Los Angeles-based artist Paul Sietsema has long been praised for his film work, though recently the artist’s practice has been mostly dedicated to painting. Accordingly, of the fifteen total works that comprised his recent solo at Matthew Marks’s L.A. outpost, only two were films, both of which had already appeared in the artist’s previous show with gallery, in New York in 2014. The remaining thirteen pieces were exquisitely rendered photorealistic paintings on canvas and paper. To merely describe the impeccable illusionistic qualities of Sietsema’s paintings would do a disservice to the mobilized concepts of temporality, obsolescence, and circulation that determine their production. Regardless of medium, Sietsema’s project can be seen as a self-reflexive analysis of cultural production, specifically the distribution status of art objects—from exhibition to acquisition to their dissemination within the culture industry.
For this exhibition, Sietsema chose the color green as a catalyst. Among the color’s myriad significations are fecundity, inexperience, envy and greed, the final the show’s most salient. Most works directly address or incorporate money in the form of coins, credit cards, dollar bills and percentages, while others variously allude to age-generated value, museological effects and painterly processes. Sietsema’s chosen color emphasis plays out in the main gallery’s installation in a wittily entropic manner, commencing with the chromatically saturated Green painting (all works 2016), moving towards the lichen hues of 1997 and 1998, and ending with the relatively pallid pairing of Telephone painting and Figure ground study (50/50), both of which employ green only sparingly. This flow from purity to dilution hints at the eventual rupture of artistic, technological, and financial systems. As such, Sietsema’s indefatigably analogue works find themselves becoming increasingly relevant in the face of digital omnipotence. Indeed, his unrelenting reliance upon and allusions to outmoded technologies (as in Telephone painting’s rotary telephone) uncannily address the speed of evolution and the inevitability of obsolescence.
Image: Paul Sietsema Figure ground study (50/50), Ink and enamel on paper in artist’s frame
54 1/2 x 59 3/8 inches (138 x 151 cm)
Courtesy the artist and Matthew Marks, Los Angeles
Originally published in Flash Art, vol. 49, no. 312, (January/February 2017), pp. 74-75.