Graham Collins: 2068

, ,
Open: Fri-Mon 11am-5pm

79 Newtown Lane, East Hampton, NY 11937, New York, USA
Open: Fri-Mon 11am-5pm


Graham Collins: 2068

New York

Graham Collins: 2068
to Sat 11 Jan 2020
Fri-Mon 11am-5pm

Halsey McKay presents 2068, an exhibition of paintings on experimental ceramic supports by Graham Collins.


Anacostia River, 2019
Oil, enamel, casein and encaustic on wood and ceramic
21 x 23 x 2.5 inches (53.3 x 58.4 x 6.4 cm)

contact gallery about this work

Columbia Road, 2018
Acrylic on linen laid on ceramic
15 x 12.5 x 1 inches (38.1 x 31.8 x 2.5 cm)

contact gallery about this work

Rock Creek IV, 2019
Casein on linen laid on ceramic
34.5 x 30 x 3 inches (87.6 x 76.2 x 7.6 cm)

contact gallery about this work

U St., 2019
Oil and encaustic on wood and ceramic
14 x 34 x 1.5 inches (35.6 x 86.4 x 3.8 cm)

contact gallery about this work

Georgia Ave, 2019
Oil, encaustic and casein on hemp laid on wood and ceramic
28 x 20 x 2 inches (71.1 x 50.8 x 5.1 cm)

contact gallery about this work

Meredian Hill Park, 2019
Casein on hemp laid on ceramic
35 x 16 x 2 inches (88.9 x 40.6 x 5.1 cm)

contact gallery about this work

666 Irving, 2019
Oil on hemp laid on ceramic
11 x 13.5 x 1.5 inches (27.9 x 34.3 x 3.8 cm)

contact gallery about this work

Potomac, 2019
Wood and ceramic
39.5 x 9 x 2.5 inches (100.3 x 22.9 x 6.4 cm)

contact gallery about this work

Rock Creek III, 2019
Casein on hemp laid on ceramic
17 x 6 x 1.5 inches (43.2 x 15.2 x 3.8 cm)

contact gallery about this work

Mt. Pleasant, 2019
Casein on hemp laid on ceramic
12.5 x 6 x 1 inches (31.8 x 15.2 x 2.5 cm)

contact gallery about this work

Added to list



Halsey McKay Graham Collins 1

Halsey McKay Graham Collins 2

Halsey McKay Graham Collins 3

Halsey McKay Graham Collins 4

Halsey McKay Graham Collins 5

Halsey McKay Graham Collins 6

Halsey McKay Graham Collins 7

Halsey McKay Graham Collins 8

As with much of Collins’ diverse output, the specific material properties and techniques that go into producing each piece are spotlighted and foregrounded conceptually and simultaneously obscured or hidden from view. The supports are constructed face down, beginning with a simple clay slab. This slab is then cut to size and reinforced while building up areas to distance it from the wall, balance, and hang it. The stoneware support is dried, glazed and fired. Next, a piece of canvas or wood veneer is mounted to the front side with an archival adhesive, trimmed to the edges, and painted. Each painting is titled after a Washington, D.C. area location.

A selection of these paintings are installed in Halsey Mckay’s ground floor gallery space. The initial appearance as a monochrome painting show belies an ambivalence towards the history and future of painting drawn out by the works physical makeup and idiosyncratic production methods. Most of the works are faced with an organic hemp canvas and coated with a handmade casein paint. Others have a thin layer of hand cut wood veneer. Additional layers include encaustic and oil paints. The picture planes are dominated by monochromatic fields, often overlying subtle geometric shapes and layers of expressive underpainting.

These paintings function like other works from Collins’ oeuvre in that they initially read as minimalistic painting objects but actually contain a lot of handmade, intuitive and gestural marking. The works also needle the loaded material, ceramic, by using it structurally rather than putting it decoratively in the foreground. Unlike traditional ceramics or painting, most of the expressive content and physical labor goes into the support and is barely peeking out. The meticulously sculpted backing reveals itself only to an especially curious observer or sustained viewing. The surfaces are imperfect but generally flat and will never warp, shrink or expand. In this regard, they have some material advantages over the traditional stretched canvas that is held as painting’s standard. The installation highlights the works’ peculiar relationship to the wall and surrounding architecture, beyond that of familiar shaped canvas painting.

Graham Collins (b. 1980, Washington, D.C.) received his BFA from Corcoran College of Art in Washington and his MFA from Bard College in Annandale-on-Hudson, New York. Recent solo exhibitions have been with Halsey McKay Gallery, New York and East Hampton, New York; The Journal, Brooklyn, NY; Almine Rech, Brussels, Belgium; Bugata & Cargnel, Paris, France; Jonathan Viner Gallery, London, United Kingdom. His work has been included in several group exhibitions, most recently at Anat Ebgi, Los Angeles, California; C. Grimaldis, Baltimore, Maryland; Marlborough Contemporary, New York, New York. He currently lives and works in New York and is represented by Halsey McKay Gallery. 2068 marks his third solo exhibition with the gallery.

Courtesy of the artist and Halsey McKay Gallery, New York

more to explore:


By using you agree to our use of cookies to enhance your experience. Close