Julie Mehretu

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Notes from ‘Grey Area’: An introduction to Julie Mehretu

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Her paintings draft narratives of urban development and their impact on an individuals experience. Her renderings of cartographic and architectural plans form the foundation for layered compositions.

Uses – flight plans, airport architecture, sports arenas, military fortifications, city maps - to investigate how the physical sites and less literal structures, social, economic and politic activity unfold.

References ‘architecture’ as a metaphor for spaces and ideas of power

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Techniques – colour, dynamic mark making, resemble diagrams of weather patterns or shifting air masses – but also signify human activity, refers to marks as characters, reflects theme of formation of social identity, marks present a multitude of stories, relationship between marks portray interaction of individuals and communities with each other and their environment.

Marks suggest a collective energy and denote places of atmosphere, looser gestures cause them to resemble less figures than forces of energy

Image changes depending on your physical relationship to it: at a distance like looking at a city, cosmology from afar; close up – image shatters into numerous other stories, events. The viewer pieces a narrative as ones experiences of the city comprise distinct moments, scenes, acts. Viewer changes position to take in shifts in scale and layered imagery, explores psychogeographic landscape

Two approaches

Technical construction:  loads of lines, marks, shapes, overlapping shapes of colour, clouds of pigment, like a series of erasures, each stage eradicating the last.

History not entirely rubbed out – it is inscribed, layering and partial veiling of information along lines of multiple viewpoints

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Notes from 'An Archaeology of the Air' by Bruce Dillon (from Grey Area)

Theme of contemporary urban warfare -city is constantly redrawn and imagined ‘explosion of the boundary’

Dust – accretion of images is it’s own form of erasure, blurs distinctions between forms and effacing outlines of familiar historical narratives

Underlying lattice of architectural or cartographic forms is further confused by drama of the line, symbol and brush stroke

Erases selected areas of drawing and marks producing effect of dust cloud, Julie Mehretu’s grey is ‘the colour of possibility of the inchoate and unrealised.’

Her paintings are indebted to destruction and decay, lines of flight, pursuit, escape, accompanied by a more diffuse surface

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