Series of 30
Cindy Wright’s interest in the object runs parallel to the research conducted by D&A Lab. Both are intrigued
by the specific nature of decay, how an object individualises during the course of time, or to what extent a work of art can and may wear out. In Japanese culture, this is even one of the defining elements of the
creative process, which they refer to as ‘Wabi Sabi’.
By burning holes in the curtain with a laser, Wright actually applies a negative painting approach to light;
by removing material, she adds something extra, namely control over the incoming light. The functionality of the curtain is split in two: the curtain both obscures and lets light through in a specific pattern.
Born 1972 in Herentals
Lives and works in Antwerp
Cindy Wright paints large-scale portraits and still-life paintings that play at the intersection between
figuration and abstraction. At first glance these monumental paintings appear to be photo-realistic, due to the use of photographic methods such as cropping compositions and intense source lighting. But on closer inspection – only possible by looking at the work from up close – the painterly applications and the range
of coloured areas become astonishingly clear. Even with this knowledge of their lush technique, the paintings again become a perceptual conundrum when you step back again to view them in their
entirety. They are conceptually rooted within a painting tradition that questions how we read and understand the world, but they are entirely contemporary in their painterly treatment. Wright’s subjects are taken from her immediate environment and are transformed into iconic images for our times.