Kal Mansur
Land Escapes
June 9 - July 3, 2022
The paintings in this solo exhibition are part of Kal Mansur's Land Escape series. These works are a change in direction for Mansur as he explores new modes of interference in abstraction. A textured surface is built with a palette knife and washed over with translucent glazes. Embedded circles shift in and out of monochromatic fields of color, inundating the work with changing reflections. The paintings start to bloom as one walks around them, like beacons that turn on and off. Painting on large-scale panels, Mansur's abstractions recall enveloping aerial landscapes.
Medium: Acrylic and resin on panel
Year: 2022
Size: 60" x 60" x 2"
This painting is part of Kal Mansur's Land Escape series. The series is a change in direction for Mansur as he explores new modes of interference in abstraction. A textured surface is built with a palette knife and washed over with translucent glazes. Embedded circles shift in and out of monochromatic fields of color, inundating the work with changing reflections. This painting starts to bloom as one walks around it, like a beacon that turns on and off. Painting on large-scale panels, Mansur's abstractions recall enveloping aerial landscapes.
Medium: Acrylic and resin on panel, aluminum frame
Dimensions: 60” x 60” x 2”
Year: 2022
Kal Mansur employs a palette knife to build a textured terrain from impasto layers of paint. The surface is washed over with translucent glazes, with liquid pooling in valleys and falling away over edges. This process builds and subdues color, resulting in a monochromatic mass. Embedded circular resin sculptures inundate the work with changing reflections. What emerges is a painting that starts to bloom as one walks around it. What were once muted circles begin to gleam – they are beacons that turn off and on. Their surfaces are paradoxical: waxy yet reflective, the circles both mirror and obscure the viewer. The work emulates the formation of land, with geographic layers gradually built over time, excavated, drilled upon, then subsumed.
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Medium: Acrylic and resin on panel
Year: 2022
Size: 60" x 60" x 2"
Kal Mansur employs a palette knife to build a textured terrain from several impasto layers of paint. The surface is then washed over with translucent glazes, with liquid pooling in valleys and falling away over edges. This process builds and subdues color, resulting in a monochromatic mass. Embedded circular resin sculptures inundate the work with changing reflections. What emerges is a painting that starts to bloom as one walks around it. What were once muted circles begin to gleam – they are beacons that turn off and on. Their surfaces are paradoxical: waxy yet reflective, the circles both mirror and obscure the viewer. Here Mansur mines the possibilities within abstraction, making a case for its plural nature by creating potent modes of interference in painting.
Medium: Acrylic and resin on panel, aluminum frame
Year: 2022
Size: 60" x 60" x 2"
This painting is part of Kal Mansur's Land Escape series. The series is a change in direction for Mansur as he explores new modes of interference in abstraction. A textured surface is built with a palette knife and washed over with translucent glazes. Embedded circles shift in and out of monochromatic fields of color, inundating the work with changing reflections. This painting starts to bloom as one walks around it, like a beacon that turns on and off. Painting on large-scale panels, Mansur's abstractions recall enveloping aerial landscapes.
Medium: Acrylic and resin on panel, aluminum frame
Dimensions: 60” x 60” x 2”
Year: 2022
Kal Mansur employs a palette knife to build a textured terrain from impasto layers of paint. The surface is washed over with translucent glazes, with liquid pooling in valleys and falling away over edges. This process builds and subdues color, resulting in a monochromatic mass. Embedded circular resin sculptures inundate the work with changing reflections. What emerges is a painting that starts to bloom as one walks around it. What were once muted circles begin to gleam – they are beacons that turn off and on. Their surfaces are paradoxical: waxy yet reflective, the circles both mirror and obscure the viewer. The work emulates the formation of land, with geographic layers gradually built over time, excavated, drilled upon, then subsumed.
Kal Mansur is best known for his luminous wall works that combine painting and sculpture. Materials such as acrylic, cast acrylic, and epoxy resin are combined to create cohesive, elemental pieces of art. He uses transparency like a brushstroke, varying its application to refract available light.
Mansur completed his BFA from the University of Texas at Austin in 1990. His work has been commissioned by Tiffany & Co., Bonjour Capital, George Brown College, Related Companies, among others. His work is in the permanent collection of Global Affairs Canada and was part of the Canada Pavilion at Expo 2020. He lives and works in Toronto.