Through paintings, drawings, and, for the first time, print, Augusto Di Stefano continues to explore processed and gestural marks that slip between geometric abstraction and strangely lone structures. The various works, installed in a semicircular arrangement, encourage both connections and distinctions.
In Di Stefano’s paintings, the solitude of flawlessly coated backgrounds is broken by destabilized subjects that hover and shift tone with perspective. Untitled features a coal-colored pentagon laying in a field of deep grey. Heavy with the emotional residue of the artist’s hand, thick black finger-like gestures are contained by the shape, their movement alluding to the space beyond. In Table, mustard yellow is interrupted by a creamy green shaft that descends from an imperceptible start. Gaining synthetic strength as it appears more firm, the rod empties into a rectangle that, itself ultimately fades away.
Framed drawings, minimally rendered like the canvases, hang across the gallery on unbound signature sheets. While persisting with ideas of inside versus outside, the paper works move further from the gestural to rigid, produced forms. Meticulously faint and grave strokes articulate floating pieces of architectural plans or modular units, suggesting an ethereality that belies the referents’ durable nature.
A color print, partly drawn and computer-generated, advances Di Stefano’s inquiries. Against a white background a densely filled shape decays on one side, combining the saturation of the paintings, the solidity of their gestures, and the vulnerability of the drawings. Elegant yet exposed, the unyielding object betrays its insecurities.