• Ali Silverstein - Installation View, Untitled Art Fair, Inga Gallery / Ali Silverstein
    Installation View, Untitled Art Fair, Inga Gallery / Ali Silverstein
  • Ali Silverstein - Installation View, Untitled Art Fair, Inga Gallery / Ali Silverstein
    Installation View, Untitled Art Fair, Inga Gallery / Ali Silverstein
  • Ali Silverstein - "October 1, 2015" / 81 x 108 in / Ali Silverstein
    "October 1, 2015" / 81 x 108 in / Ali Silverstein
  • Ali Silverstein - Installation View, Untitled Art Fair, Inga Gallery / Ali Silverstein
    Installation View, Untitled Art Fair, Inga Gallery / Ali Silverstein
  • Ali Silverstein - "August 1, 2015" / 81 x 99 in / Ali Silverstein
    "August 1, 2015" / 81 x 99 in / Ali Silverstein
  • Ali Silverstein - "August 1, 2015" / 81 x 99 in / Ali Silverstein
    "August 1, 2015" / 81 x 99 in / Ali Silverstein
  • Ali Silverstein - "November 7, 2015" / 81 x 101 in / Ali Silverstein
    "November 7, 2015" / 81 x 101 in / Ali Silverstein
  • Ali Silverstein - "November 7, 2015" / 81 x 101 in / Ali Silverstein
    "November 7, 2015" / 81 x 101 in / Ali Silverstein
  • Ali Silverstein - "November 14, 2015" / Ali Silverstein
    "November 14, 2015" / Ali Silverstein
  • Ali Silverstein - "November 14, 2015" / Ali Silverstein
    "November 14, 2015" / Ali Silverstein
  • Ali Silverstein - "Olympic" / 80 x 102 in / Ali Silverstein
    "Olympic" / 80 x 102 in / Ali Silverstein
  • Ali Silverstein - "Olympic", Studio View / Ali Silverstein
    "Olympic", Studio View / Ali Silverstein
  • Ali Silverstein - Installation View / Ali Silverstein
    Installation View / Ali Silverstein
  • Ali Silverstein - Installation View / Ali Silverstein
    Installation View / Ali Silverstein
  • Ali Silverstein -

Untitled Art Fair

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Solo Exhibition with Inga Gallery at the Untitled Art Fair for Art Basel Week 2015, Miami

These works are titled with the date of their completion, emphasizing what the critic Harold Rosenberg said of abstract expressionism—that “what was to go on the canvas was not a picture but an event”. The making of these works is not a process separate from life, but a “happening” of life itself.

From the stacked puddles of translucent color that transformed into portraits in previous work, to the hung fringes or collaged canvas shapes in more recent pieces, layering has always been at the core of Silverstein’s language.  Left to hang and move, the canvas (whose materiality is celebrated rather than hidden), breaks open the surface of the picture plane to create real, rather than illusionistic depth. Hints of landscape, layers of skin, and shapes of color collide in a play of concealment and revelation to create not mere landscape, but inner-scape, or culture-scape – where the inner meets the outer.