05.13.2021 - 07.13.2021
Robert Janitz & Jessica Wozny
Two vectors at once, the optimistic vector against the doubtful vector
There happens to be a connection between the apparent and the unexpected, the detection of which is capable of revitalizing the perception of those structures with which we coexist. The encounter with this experience is irregular and permeable, a sign of the passing of an energy whose vibration is hidden both in rest and in things’ ability to fall into place despite their obvious ups and downs. Robert Janitz’s painting and Jessica Wozny’s sculpture share this character: one that is equally self-evident and surprising, in which their relationships seem simultaneously to disturb and to contain the activities from which they originated.
One finds them in a space that can be traversed as a sort of network of nuclei, in which each work clearly presents the system that governs its processes while also obscuring its purposes: there is no doubt about the apparition of forms, though their identity is profoundly indeterminate.
In another double operation, the subsequent pursuit of signs tosses up a world that is both encrypted and alluded to; the rapid passage of organic evocations in the use of the body and in flexion, as well as the discovery of a possible semantic sequence attributable to language. Material repertoires are confused with the presence of the alphabet.
Robert Janitz’s painting has been created through discrete modulations of pressure in order to make way for the traversal of surfaces mixed with oil and flour, while Wozny’s material reflects a close agreement between surface and structure via direct manipulation of different types of paper, including photocopy paper. In both works there arises a capacity in the exterior to merge with the interior: the confusion between a texture and a structure and a surface with a background. The result is a porous and rich visuality capable of reaching our desire for familiarity in order to transform it suddenly: it is not easy to know at what distance we can understand what is happening.
The drastic and at the same time silent effects of these operations make each work a hallmark in itself. An entity, both organic and inorganic, that self-calculates in material disturbances.
The work of Robert Janitz and Jessica Wozny plays with its own finitude and therein establishes links in readings towards its own interior. There is satisfaction in perceiving the balance of these equations, as well as in the intuition of a certain self-imposed loneliness standing at its parameters: its signs do not appear to want to open or close, but to continue its secret way of life within a permanently distinctive ecology.