Untitled [Gray Shed] #17 2011

Marie Ringwald’s "Untitled [Gray Shed] #17" presents a study in contrasts, using what appears to be ink or paint on paper. The piece has a raw quality and a process-led feel. The lower part of the shed has a mottled, almost decayed texture, achieved through layers of opaque marks and blotches, while the upper portion is defined by horizontal strokes, like rough-hewn planks, giving a tangible sense of form. The work reminds me of Jasper Johns’ encaustic paintings, particularly in its layering of materials and in its attention to surface. Look at the lower edge of the shed. It is neither clean nor resolved, but full of drips and uneven applications, which lends an expressive quality to the work. The off-white ground of the paper plays a crucial role, creating both a stark contrast and a breathing space around the geometric form. Ringwald is part of a continuing conversation about how we see, how we construct images. It’s never just one thing, never finished, but always open to the next mark, the next idea.