Matthew Feyld & Valerie Krause at L21 Gallery

Artists: Matthew Feyld & Valerie Krause

Exhibition title: of part to whole

Venue: L21 Gallery, Mallorca, Spain

Date: January 19 – March 15, 2024

Photography: Juan David Cortés / all images copyright and courtesy of the artists and L21 Gallery, Mallorca

“of part to whole” marks the most recent exhibition featuring new works by artists Matthew Feyld and Valerie Krause, presented in L21 Home Palma de Mallorca.

The showcased series dwells into a process of construction and deconstruction, exploring both the physical and intellectual side of it. As the artists started preparing the exhibition, they discerned a commonality in their approach to the symbols and structures utilized. Despite the hermetic nature of their work, this served as a catalyst for this exhibit. This was the starting point, at the same time, with works that belong to the same family there is a clear difference in terms of structure and liberty of construction. They aimed for their work to remain true to itself while simultaneously contributing to the creation of a cohesive and fluid presentation, achieved through the use of strong and strict shapes.

Matthew Feyld’s specific line of work has been in development for the past years. A distinct “shape of resistance” typical in his modus operandi is the use of the circular shape, which contrasts with the overall strictness of his artistic approach. Inside this motif lies a black dot that reveals itself, in reality, more than a dot but the initial background from which the artwork originated. The painting process starts with black background upon which he then adds several layers of paint leaving only an unperfect dot in the middle. This is an exercise of minimalist compression. Central to Feyld’s work is an obsessive and extensive research. This artistic philosophy allows the artist to explore further the study of this practice and add depth and complexity to the end result.

The circle is a symbol that represents total fullness, while the dot introduces a tension, prompting the question: Is the dot being protected or being held hostage?

Analyzing this artist’s case is intriguing, particularly in dissecting the potency of the works individually and collectively as a whole. These pieces are part of a series of controlled permutations, delving into the development of the complex idea, a concept previously theorized by Carl Andre, but not widely being adopted by contemporary artists due to its obsessive and profound nature. This conceptualization contrasts with the trend of fast and rapid ideation.

Upon a closer look, these paintings reveal themselves as three-dimensional artworks, transforming a monochrome painting into a distinct category.

Valerie Krause in one of her interviews, revealed that her choice for sculpture over painting is connected to the fact that this medium is more physical and concrete. As we analyze this body of work, it becomes clear we see that her practice is a genre bending line of work as it is motivated by physical processes and installation concerning the assembling in space.

The artist’s work is inspired by a connection between nature and culture showcasing contrasts in the material used and the absence of color. To emphasize this we see the combination of raw and delicate materials. In this particular exhibition, the utilization of black steel, construction materials, and mirrors amplifies the dichotomy, creating a dynamic visual dialogue within her sculptural creations.

We can classify Krauses’ work as determined. She transforms all of these raw, cheap materials and turns them into something that holds us still. Aesthetically speaking within her pieces there is a sense of purity.

A distinct characteristic of Valerie’s work is the inherent decisiveness. Her pieces are gifted with the ability to separate and unite doing so with a nuanced interplay of gentleness and ruggedness. The preciseness, the proportions and balance of her creations do that. The tension observed lies in the delicate equilibrium between enclosing a space and leaving it open, oscillating between conveying a hermetical meaning and allowing for openness.

Even though Valerie’s work is a subtle fraction of space, the works don’t blend with the surroundings, insead they assert themselves as standalone entities.

The significance of this exhibition hinges on how the individual pieces activate the space, establish rhythm, and relate to each other. They create one without losing an entity.

-Zé Ortigão

Matthew Feyld & Valerie Krause, of part to whole, 2024, exhibition view, L21 Gallery, Mallorca

Matthew Feyld, Untitled CP-23-16, 2023, Acrylic and pigment on linen, 20.32 x 20.32 cm

Matthew Feyld, Untitled CP-23-15, 2023, Acrylic and pigment on linen, 20.32 x 20.32 cm

Matthew Feyld, Untitled CP-23-14, 2023,Acrylic and pigment on linen, 20.32 x 20.32 cm

Matthew Feyld, Untitled CP-23-13, 2023, Acrylic and pigment on linen, 20.32 x 20.32 cm

Matthew Feyld, Untitled, 2023, Acrylic and pigment on linen, 7.62 x 487.68 cm

Matthew Feyld, Untitled CDP-23-05, 2023, Acrylic and pigment on linen, 30.48 x 30.48 cm

Matthew Feyld, Untitled CDP-23-04, 2023, Acrylic and pigment on linen, 30.48 x 30.48 cm

Matthew Feyld, Untitled DP-23-07, 2023, Acrylic and pigment on linen, 50.8 x 50.8 cm

Matthew Feyld, Untitled DP-23-06, 2023, Acrylic and pigment on linen, 40.64 x 40.64 cm

Matthew Feyld, Untitled DP-23-05, 2023, Acrylic and pigment on linen, 40.64 x 40.64 cm

Matthew Feyld, Untitled DP-23-04, 2023, Acrylic and pigment on linen, 40.64 x 40.64 cm

Matthew Feyld, Untitled DP-23-03, 2023, Acrylic and pigment on linen, 40.64 x 40.64 cm

Matthew Feyld, Untitled DP-23-02, 2023, Acrylic and pigment on linen, 40.64 x 40.64 cm

Valerie Krause, Untitled, 2022, Galvanized steel, 38 x 26 x 13 cm

Valerie Krause, Untitled, 2021, Galvanized steel, 26 x 19 x 6 cm

Valerie Krause, Untitled, 2023, Glass, felt, 0.4 x 130 x 170 cm

Valerie Krause, Untitled, 2023, Plaster, steel, jute, wood, 8 x 130 x 120 cm

Valerie Krause, Untitled, 2023, Steel, 4 x 12 x 430 cm