
Steven Campbell "The Rogue's Progress"
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Steven Campbell "The Rogue's Progress"
Price:$18,750
About the Item
- Dimensions:Height: 109 in (276.86 cm)Width: 109 in (276.86 cm)Depth: 2 in (5.08 cm)
- Materials and Techniques:
- Place of Origin:
- Period:1980-1989
- Date of Manufacture:1985
- Condition:very good condition.
- Seller Location:High Point, NC
- Reference Number:1stDibs: LU87009554263
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Decroux. Colucci has explained the difference between the extremes of
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source requiring extreme mental and physical control. Dance by contrast is
an external expression; likewise requiring great precision, although instead
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simultaneously honors, yet defiantly refutes tradition; rejecting a
compartmentalization regarding art and movement, yet incorporating its
elements into his own brand of experimental pastiche. Colucci’s performance
works manifest as eerily candy-coated and familiar, yet incorporate
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in the viewer; an exploration of a cumulative artifice that binds human
nature against its darker tendencies; highlighting traditions of artifice itself -
the fabricated systemologies that necessitate compartmentalization in the
first place.
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distinctive pictorial vocabulary; a strong allusion to --or moreso an extension
of --his performance works. Colucci’s paintings depict a sort of kinetic
spectrum, or as he refers to them “a technical expression of physicality and
movement”. Whereas the French performance and visual artist Yves Klein
used the human body as a “paint brush” to demarcate his paintings and
thereby signify a residue of performance, Colucci’s utilization of nonsensical
numbers and number sequences taken from dance scores, as well as heat-
induced image abstraction depicting traces of movement likewise inform his
vocabulary. In the strand of the choreographed, yet incorporating moments of
chance, Colucci’s paintings represent an over arching structure; a rhythm of
being and state, yet detail erratic moments --moments that denote a certain
frailty --the edge of human stamina. Colucci’s paintings dually represent a
form of gestural abstraction --and also the reverse of this --a unique
anthropomorphization of varying states of movement – that sometimes
present as a temperature induced color field, at others are juxtapositions of
movement and depictions of physical gestural images themselves. Colucci’s
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set design, and also reference a sort of collective experience of urbanity and
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