For his first solo show at 303, Nick Mauss takes a decisive step away from his best-known earlier work—paintings of dandyish figures adrift in lush fields of color—with minimalist sculpture and stark, etchinglike compositions on silver leaf. Somewhere between an attack on history and self-editing in overdrive, the work makes explicit the frustrations involved in the impulse to communicate.
Though his approach is nearly abstract, Mauss takes pains to invite viewers into his universe. A huge sheet of paper hung to suggest a doorway, then torn open, stands near the gallery entrance, ushering us into the show. Beyond it, a house-shaped framework suspended from the ceiling surrounds a slide projector showing blank slides, continuing the metaphor for transparency but literally and conceptually offering little substance.
Both feel like mere stage setting for the panels, rife with subject matter yielded grudgingly. Because the works are positioned at awkward viewing heights against the gallery wall, it’s easy to miss the occasional vessels, mythological characters or beasts that remain after the artist distressed the surface to reveal a void of black paint under the silver leaf. The vigorous scratch patterns nearly obliterate the sketchy figures, evoking an aura of vandalized archaeological treasures. This subtle attack on icons of ancient art history also recalls Rauschenberg’s erased De Kooning drawing, but Mauss’ idiosyncratic selection of subjects suggests something more personal, like burning a diary or sketchbook. While he doesn’t always strike a proper balance between emulating the past and wanting to eradicate it, his bold marks on delicate panels are an admirably decisive act.
Originally published in Time Out New York, issue 739, November 26 – December 2, 2009.
