In his second solo exhibition at Eli Ping Frances Perkins, Maximilian Schubert expands on his series of Untitled white paintings - trompe l'oeil sculptures that utilize a process akin to lost-wax casting. His approach re-imagines the painting-as-object - conflating painting and sculpture, and blurring distinctions between surface, support, and gesture.
The surfaces of his most recent works are made of folds and creases that act as a grid or painterly stave, distorted by smears and cut open by gouges and brush strokes. The artist's gesture becomes a breach in the body of the painting, irreconcilable with yet inexorable from the support. Schubert's practice evidences a compulsion to reduce and distill the essence of the painterly object, a concern that encompasses his choice of a monochromatic white palette.
Advancing this theme of reduction, Schubert presents a new series of clear works - texture studies that have the ghostly appearance of fossilized glass. These pieces are records of absence, where every readable feature is the conspicuous imprint of a