Wade Guyton’s paintings reveal themselves as a product of mechanical reproduction, reflecting his practice of making artworks using commercial inkjet printers. The abstraction and physicality arrived at through the printing process communicates a vocabulary of uniqueness with its attendant skips, spurts, drips and smears. A mixture of primary sources, letters and signs as well as drawings and scanned printed matter, are abstracted and made singular by pushing an Epson 9600 inkjet printer to its limits. These representative aspects of the paintings persist as a digital trace of their original selves. The colour gamut offered by the 9600’s Ultrachrome inks provides a resolutely contemporary palette from which these graphic marks and images emerge.
Wade Guyton has produced new large-scale printed paintings constituted of varied clusters and rows of Xs, a letter the artist often uses in his work. In this specific body of work, Guyton has folded the oversize linen surfaces to feed them through the printer, to bypass its width limitations. The resulting images’ misregistrations and asymmetries reveal this multi-step process.
Born 1972, Hammond, Indiana Lives and work in New York
1996–1998 Hunter College, New York 1990–1995 BA, University of Tennessee, Knoxville
Galerie Gisela Capitain, Cologne
Color, Power & Style, Friedrich Petzel Gallery, New York
Wade Guyton, Haubrokshows, Berlin
Empire Strikes Back, (Guyton\Walker), Carpenter Center, Harvard University, Cambridge
Color, Power & Style, Kunstverein in Hamburg
Galerie Francesca Pia, Bern Gavlak, West Palm Beach Art 36 Statements, Galerie Francesca Pia, Basel
The Failever of Judgement, Part III, (Guyton\Walker), Greene Naftali Gallery, New York
Objects are Much More Familiar, Power House, Memphis The Failever of Judgement, (Guyton\Walker), Greene Naftali Gallery, Cologne XXXXX BBB XXXXXFFFFFF FFFF, (Guyton\Walker), Midway, St. Paul
Guyton, Price, Smith, Walker, Kunsthalle Zürich Tbilisi 3. Let’s Stay Alive Till Monday, curated by Daniel Baumann, Tbilisi, Georgia Pose and Sculpture, curated by Daniel Baumann, Casey Kaplan Gallery, New York Imagination Becomes Reality Part IV: Borrowed Images, Sammlung Goetz, Munich Uncertain States of America, (Guyton\Walker), Bard College, Annandale-on-Hudson; Serpentine Gallery, London; Reykjavik Art Museum, Iceland Delete/How to Make a Perfect Ghost, Anton Kern Gallery, New York Matthew Brannon, Wade Guyton, Patrick Hill, United Artists, Ltd., Marfa Bring the War Home, (Guyton\Walker), QED, Los Angeles Ordnung + Verführung, Museum Haus Konstruktiv, Zürich An ongoing Low-Grade Mystery, (Guyton\Walker), curated by Bob Nickas, Paula Cooper Gallery, New York
Unburied/Reburied, curated by Hans-Jurgen Hafner, Kunstbunker, Nürnberg Make It Now: New Sculpture in New York, (Guyton\Walker), Sculpture Center, New York Grey Flags, Friedrich Petzel Gallery, New York Greater New York, P.S. 1-MOMA, Long Island City New York Twice, curated by Fabrice Stroun, Air de Paris, Paris Tête à Tête, Greenberg van Doren Gallery, New York Die gute Form, curated by Gerold Miller, Mehdi Chouakri Galerie, Berlin Dead/Undead, curated by Hans-Jurgen Hafner, Galerie Six Friedrich Lisa Ungar, Munich Principles of Construction, Centro Cultural Andratx, Mallorca Meet me at the Corner, Fortescue Avenue / Jonathan Viner, London