Piers Secunda’s exhibition at the William Hollman Gallery on Ludlow Street, New York was featured in Art and ArtWorks:
NEW YORK, June 17, 2014 /PRNewswire/ — London based artist Piers Secunda’s work is on display in New York City for the first time. The artist best known for his sculptures made out of paint using geopolitical textures is showcasing his Taliban Bullet Hole paintings as part of a collective exhibit at the William Hollman Gallery on Ludlow Street. The exhibit is called War Stories and features art from a range of diverse artists, whose work focuses primarily on war and conflict.
Piers Secunda has a unique approach for pushing creative boundaries by removing the canvas. He developed a process to sculpt with paint and has been using this special technique for over 15 years. By incorporating geopolitical textures into his work, it allows Secunda to capture current events of global significance and use his paintings as a medium to expand public dialogue beyond what we are accustomed to in standard formats of media coverage. In 2010, Secunda traveled to Kabul to take molds of Taliban bullet holes. Molding bullet holes found at two sites destroyed by Taliban violence, he was able to create a series of paintings.
Following the geopolitical theme in his work, Secunda is simultaneously working on two other projects. Currently, one of them in development is a book with images of crude oil silkscreens accompanied by texts from historian and oil industry veteran Nicholas Rankin. The images and texts will come together to visually document the history of the oil age. “As the ultimate facilitator human activity and our greatest source of energy, I believe that crude oil must be a strong contender as the ultimate artist’s material. For me, crude oil is the texture of our lifetime,” explains Secunda. “Using oils sourced from specific oil fields and countries, I am telling the story of the oil age.”
Secunda is also embarking on a series of “Diamond Drawings”. Each drawing is created by grinding diamonds into a sheet of handmade artists’ paper. The sheets are left with impressions made by the rough edges of the diamonds with cuts, gauges, and scrapes, all of which occur while mining for the precious jewel. The sheets will be presented as double panels, Dypitchs, without any indication of what type of diamonds were used, in the same manner a consumer does not know whether or not their precious jewels are “blood diamonds”.