Venetian Red in Berlin: John Finneran at Upstairs Berlin
By LIZ HAGER
Berlin is on its way to becoming the Hauptstadt of contemporary culture. It’s already a magnet for collectors and young American artists, many of whom call it home, if temporarily.
John Finneran seems to be an example of the kind of younger American artist who has found Berlin a sympathetic milieu. His work is physically big in the way that so much of gallery-oriented emerging art so often is, and he’s clearly focused in on the elements that tend to facilitate commercial success (one of which is good representation in the European markets). Since completing his BFA at Cooper Union in 2002, he’s kept to a rigorous schedule of a show a year, mostly in New York, where he lives. Admittedly I was unfamiliar Finneran’s oeuvre, when I walked into Upstairs Berlin. His new work definitely caught my attention, and prompted me to investigate more deeply.
Finneran’s use of aluminum as a substrate, while no longer revolutionary in the world of art, achieves what a similar work on canvas could not—it provides a subtle luminosity that perfectly complements his overall somber palette. The glazing technique seems to be new in this year’s works, though not with these pieces in particular. It’s a technique that is extremely effective in creating an overall murky, if not mysterious, tone in the work. Vestages of figural gestures remain embedded in the abstraction—noses, mouths, eyes—although they are more shrouded by the abstraction than in earlier work. Further, in stapling or riveting the sheets together to form a larger surface, Finneran proves (once again) that craft can be an eloquent partner to abstract art. Additionally, the canvases are irregularly-shaped—some sport mildly uneven edges, others, like the one above, sprout cock’s combs. This adds a modicum of whimsy to the pieces, a sly antidote to his restrained palette. Finally, the artist has dispensed with the frame, a time-honored technique that breaks down the barrier between canvas and viewer, by suggesting an endless picture plane.
Finneran’s execution engaged me, and I paused a bit more than usual to ponder what the artist might be trying to communicate with it. In this department I admit difficulty. I could quickly summon the panoply of artists that might have influenced Finneran, but was having trouble figuring out whether what he appeared to be saying was new or unique. Still I remain interested enough to see where the artist might go from here.
Upstairs Berlin certainly took a risk in mounting this young artist’s first solo exhibition. My sense is that it might not have paid off today, but certainly Finneran is an artist to watch. His willingness to experiment with a range of media and techniques will serve him well as he continues to develop his voice.