ALAN STEELE

UNCONDITIONALLY CONSTITUTIONAL

EXHIBITION DATES:
December 3rd, 2020 - February 13th, 2021

Alan Steele, Installation View 11_fullpa

 

WESTWOOD GALLERY NYC is pleased to present Alan Steele: Unconditionally Constitutional, a solo exhibition by conceptual, New York artist Alan Steele. This is his first solo show with the gallery and includes thirty new artworks as well as works from the 1990s which trace the evolution of his artistic vision. The curated exhibition highlights Steele’s concept of retrieving discarded elements from previously completed work and constructing the remnants of abstracted fragments to solve complex ideas of space, time, and identity. 

 

ALAN STEELE
Unconditionally Constitutional, 1999
pen and ink on museum board
Artwork: 31.75 x 39.5 inches | 80.6 x 100.3 cm 
Framed: 33 x 40.75 x 1.5 inches | 83.8 x 103.5 x 3.8 cm
Unique, Framed

ALAN STEELE
Modern Equipment, Blue and Yellow, 2016
marine enamel, slate paint, pen and ink, ink and acrylic on wood
Artwork: 73 x 62 x 11 inches | 185.4 x 157.5 x 27.9 cm 
Unique

ALAN STEELE
Modern Equipment, Fragment 5022, 2020
marine enamel, slate paint, and acrylic on wood
Artwork: 38 x 38 x 4 inches | 96.5 x 96.5 x 10.2 cm 
Unique, Unframed

Steele established himself during the early 1970s as a minimalist painter working with mathematical formulae projected on a grid. Foreseeing the limitations of minimal art and painting in 1974, he started a theoretical architectural project derived from the problem of “what is a labyrinth and how would one design one?". The result was a complex labyrinth based on a matrix, soon becoming the foundation for Steele’s future work and a source he continuously references to generate new structures.

As an artist who has spent much of his childhood in the West Indies, South America and South East Asia, as well as traveling the world in search of rare tribal artifacts and mythical cultures, Steele is compelled to explore the ‘act of being’ in his artwork. His artistry is a quest to understand theories of knowledge, history and the basic relationship of objects and their attachment to tradition, culture, and global divergence.

ALAN STEELE

Twenty Three Spokes #1, 2020

mixed media, pen and ink, ink, acrylic, and graphite on paper on linen backed paper on prepared galvanized metal

Artwork: 14 x 10 inches | 35.6 x 25.4 cm

Unique

ALAN STEELE

Twenty Three Spokes #2, 2020

mixed media, pen and ink, ink, acrylic, and graphite on paper on linen backed paper on prepared galvanized metal

Artwork: 14 x 10 inches | 35.6 x 25.4 cm

Unique

ALAN STEELE
Radical Interceptor, Fragment 5016, 2020
pen and ink on museum board
Artwork: 40 x 60 inches | 101.6 x 152.4 cm 
Framed: 42.25 x 62.25 x 1.75 inches | 107.3 x 158.1 x 4.4 cm
Unique, Framed

ALAN STEELE
After the Fall, 2020
mixed media construction, plexiglass, marine enamel primer, high pigmented polymer acrylic on wood
Artwork: 57 x 57 x 6 inches | 144.8 x 144.8 x 15.2 cm 
Unique

After the Fall is inspired by the revelatory discovery of the genome sequence required to create the mRNA COVID-19 vaccine. The stacked string of letters, ACGT, represents the series of nitrogenous bases on the DNA strand. As one reads the row, sometimes the letters couple as A-C-T, an abbreviation Steele frequently references in his work as a reminder that an artist is an act of being. The dirt and ink splashed plexi represents the corrupt issues in dealing with the virus on many levels of state, federal, and global scales.

ALAN STEELE
Modern Equipment, Fragment 5013, 2020
marine enamel, slate paint, and acrylic on wood
Artwork: 38 x 38 x 4 inches | 96.5 x 96.5 x 10.2 cm 
Unique, Unframed

 

In his words regarding interpretation and identity, he writes: “Can a work of art survive the world? Can the “act of being” be unconditionally constitutional in an incomplete world? Art is the reminder of every attained mode of organization which man is committed, and through which he defines himself. Consequently art can be emotionally moving. Its emotion is not the primary violence of instinct, but the much more profound feeling with which we contemplate the structural and organized truth. Art can disclose only what is endowed with a prior discipline and imagination. It asserts and proclaims the modes of imagination and the ordered infinity of non-aesthetic aspects of experience.”