DNA is pleased to present roll and rot, a solo exhibition by London-based artist Kim Neudorf. Using ready-made clichés like textual and collage-based prompts, Neudorf’s paintings and texts strive to defer meaning while generating space for gestural and cognitive gut flora. Hers is a consideration of formlessness where, to cite Yve-Alain Bois, the goal is not a suspension between dualities, but an “alternating rhythm” of absorption and excretion.[i] roll and rot proposes gestures which stretch out the terms of legibility to clear a space for action—action which reconstitutes, transforms and continues to move. These gestures are the starting point of a language that is in excess of meaning, or that which oscillates in a continual re-orientation of the unresolved space between thoughts, physical states, desires, and affects.
The words roll and rot are inspired by artist Jutta Koether’s novel ‘f.’, which explores “what the things are doing that make art”, such as the simultaneous “rot and roll or both” of the “round and rotten” state of an orange.[ii] For Neudorf, to understand such gestures of movement and transition might be to reverse-engineer andre-enact them in the present. roll and rot is also informed by Robert Rauschenberg’s 1951 drawing ‘The Dancer,’ which performs via radiating rings and lines of hooks, arrows, and teeth. The drawing’s affect defers representational meaning while gesturing outward in a circuitous process of action and exchange.
Kim Neudorf is an artist and writer based in London (ON). She received her BFA from Alberta College of Art and Design in 2005 and her MFA from Western University in 2012. Neudorf attended the Optic Nerve Thematic Residency at the Banff Centre for the Arts in 2005, and in 2011 she was named one of 15 semi-finalists in the 13th RBC Canadian Painting Competition. Her writing and paintings have appeared most recently at Paul Petro, Toronto; Franz Kaka, Toronto; Forest City Gallery, London; Modern Fuel Artist-Run Centre, Kingston; DNA Gallery, London; Evans Contemporary Gallery, Peterborough; and Susan Hobbs Gallery, Toronto. In the Fall of 2014 she curated balloon / portal / starres / fiends at DNA in London, an exhibition of works responding to a short story by Donald Barthelme.
[i] Yve-Alain Bois, “Dialectic,” Formless: a user's guide (NY: Zone Books, 1997) 71. [ii] Jutta Koether, f. (Berlin: Sternberg Press, 2015) 15.