MITCHELL: Abstracts, 2011, Archival Pigment prints - 36 x 36 (44 x 44 inch paper size) - A Solo Exhibition at the RMA Institute, Bangkok, Thailand opens May 21 at 4:30 pm. Concurrently, works from this collection will be available from Lynn Dunham Fine Art in the United States.
ABOUT THE WORK: Mitchell’s Abstracts 2011 collection is comprised of 39 images which follow the rudiments of Concretism, a non-objective art form of the 1940’s that defied all the norms of the Contemporary Art of its time. The central characteristic of this art movement produced works without the influence of any external factors, such as nature, people, or things. By definition, Concrete Art does not require the artist to have a definitive concept or subject. It is about the inventive play of lines, planes, and color, forming unspecific patterns and true expression of an artist's spirit. It is this movement which gave birth to Constructivism, Suprematism and Neo-Concretism, Minimalism and Op Art, all periods in art history which are embodied in Mitchell’s work since his departure from the commercial arena. He has recently employed the process of creating assemblages which he chronicles through the lens putting a contemporary spin on the principles art movements of the past century.
Mitchell’s prominent and innate sensibility is clearly related and is presented particularly in the culmination of two years’ work with the Abstracts 2011 collection, a portion of which has been selected to be exhibited in this solo at the RMA Institute. With his fresh perspective, he employs a 21st century point of view and establishes a new personal archetype. Mitchell states, “The conventional notion that photography is about representation is/has been rejected in favor of pure abstraction. The images themselves along with the process of image making are the subject rather than the depiction of something identifiable.”
ABOUT THE WORK: Mitchell’s Abstracts 2011 collection is comprised of 39 images which follow the rudiments of Concretism, a non-objective art form of the 1940’s that defied all the norms of the Contemporary Art of its time. The central characteristic of this art movement produced works without the influence of any external factors, such as nature, people, or things. By definition, Concrete Art does not require the artist to have a definitive concept or subject. It is about the inventive play of lines, planes, and color, forming unspecific patterns and true expression of an artist's spirit. It is this movement which gave birth to Constructivism, Suprematism and Neo-Concretism, Minimalism and Op Art, all periods in art history which are embodied in Mitchell’s work since his departure from the commercial arena. He has recently employed the process of creating assemblages which he chronicles through the lens putting a contemporary spin on the principles art movements of the past century.
Mitchell’s prominent and innate sensibility is clearly related and is presented particularly in the culmination of two years’ work with the Abstracts 2011 collection, a portion of which has been selected to be exhibited in this solo at the RMA Institute. With his fresh perspective, he employs a 21st century point of view and establishes a new personal archetype. Mitchell states, “The conventional notion that photography is about representation is/has been rejected in favor of pure abstraction. The images themselves along with the process of image making are the subject rather than the depiction of something identifiable.”
