MULHERIN is pleased to present MANGLE & PLEXUS, an exhibition of new paintings by Krisjanis Kaktins-Gorsline. The exhibition will be on view from Jan 23 – March 16, 2014, with an opening reception on Jan 23 from 6 - 9 pm.

MANGLE & PLEXUS presents a sequence of paintings made using a generative system of stencils and scripted mark-making procedures. Enacting painting as a performative field, these works figure a de-centered entanglement of agencies in which artist, materials, and the contingencies of process play symmetrical roles in the work's realization. Collectively, the paintings elaborate an emergent grammar of programmed gestures, whose interactions unfold immanent propositions. 

The stencils used in the making of these paintings transcribe forms that occur in the paintings themselves; subsequently they act as a means of translating information from one painting to the next. The distribution of stencils and marks transacted on the paintings' surfaces are governed by a set of instructional scripts. This system generates a positive feedback loop in which the spontaneous particularity of one painting's production precipitates the information that will shape the parameters and outcomes of subsequent paintings. Each painting re-composes the terms of its predecessors, conserving and displacing them in turn. As such, they elaborate an evolutionary procession of forms as they extend through the temporal passages of their making. By virtue of their sequential mode, the paintings are not simply material archives of their individual production, but together form a collective history, each painting extending a direct indexical relationship to each other painting. Together, they model an entangled network space of related yet singular entities. 

Expropriating abstraction's tropes as a host body, these paintings incite a parasitic re-organizing of painting's ready-made anatomy. Abstraction's material means are displaced from its teleological ends, coaxed to perform joyful acts of self-debasement and material exuberance. The expressive gesture, marker of subjective presence, becomes a tramping informational automaton, while systematized modes of production, rather than establishing any reductive or deterministic normativity, act as eccentricity pumps, proliferating alterity and multiplicity as the fruiting body of an aesthetic cordyceps. These paintings occupy the non-modern ambivalences and constitutive incommensurability at the heart of abstract practice, attending to these gaps as a productive milieu.

Krisjanis Kaktins-Gorsline received a MFA from Columbia University, New York. Recent solo exhibitions include: Nervous Lattice, at Battat Contemporary, Montreal, Krisjanis Kaktns-Gorsline: Recent Paintings and Drawings, at Mullherin Pollard, New York, and Krisjanis Kaktins-Grosline, at Heather James, Palm Springs, California.

Krisjanis Kaktins-Gorsline's work has been featured in recent group exhibitions including: Re-Configuring Abstraction, School of Art Gallery, University of Manitoba, Indivisible at the Foreman Art Gallery in Quebec, Here We Aren't So Quickly At Thierry Goldberg in New York, The Pheonix Art: The Renewed Art of Contemporary Painting, currated by Robert Enright at Simon Blaise in Montreal, and The Open, at Deitch Studios in New York. He was a semi-finalist in the 2011 RBC Canadian Painting Competition. In 2011 he was also the recipient of a Canada Council for the Arts, Research and Creation Grant. The artist lives and works in Winnipeg where he is an instructor at the University of Manitoba.