Hajime Nariai has described Minamikawa’s pictures as being characterized by “brushwork and lines that could be considered either free or lazy. Swathes of exposed canvas and a lack of color that confound distinctions between immediacy and incompleteness.”
Minamikawa’s pictures certainly foreground and magnify matters that normally (as has long been the understanding [which is how I’d like to leave it for the moment]) would be polished out of the veneer of “showtime.” This is something viewers will surely recognize when they notice the traces of things that have been markedly wiped from Minamikawa’s pictures.
Excerpt from “Time Windows” | Sen Uesaki (Writer on art)
Hylden’s cuts, overprints, and washed-off brushstrokes all operate between Frank Stella’s words and Mike Kelley’s abstraction, obscuring both with his own brand of humor; the process appears and reappears in later iterations.
Metaphorical and literal craftiness means that the artworks always waver in terms of appearance between being crafted and craftily manufactured. The offset between authorship (washing off brush marks) and production (fabricated printing, machined aluminum) has meant that while some of his previous works were outsourced to achieve a particular print and finish, they appeared distant and uncharacteristically detached.