Andrew Sendor: Vanishing Point

Andrew Sendor, Installation view: Esmé Augustijin, Artist unknown, 2033, human b
Andrew Sendor, Installation view: Esmé Augustijin, Artist unknown, 2033, Without a Title, Aart Ruben, 2033, 2011, oil on linen mounted to panel, 26 x 18 inches (courtesy of Sperone Westwater)

Ben Street blogs about the paintings of Andrew Sendor whose exhibition is on view at Sperone Westwater, New York, through March 30, 2013.

Street notes that: "Andrew Sendor’s recent paintings describe the future in terms of the past. Interiors that recede efficiently according to fifteenth-century pictorial principles – this in front of that, the doubling shadows of objects in a daylit room – are used to limn a vision not of the secure present or noble past but of the near future. Their stilled, held-breath atmospheres suggest this; their titles confirm it. All is stilled and held: videos stopped at a single frame, figures locked in time. The worldly and religious certainties implied by perspectival space (Jerome’s quill pausing over a translated verse) are inverted. This space is neither religious nor aristocratic: it’s a scaffolding of certainty that allows its opposite to be explored. Sendor’s paintings exist within the strange and contradictory tense of Roland Barthes’ caption in Camera Lucida. Under an image of Alexander Gardner’s photographic Portrait of Lewis Payne is written, almost casually: he is dead and he is going to die. This has happened and this is going to happen. The tension makes the paintings seem clenched, humming."