Mark Prime at VHC – Vida Heydari Modern
As an artist, Mark Prime is worried not with clean, industrial end, however with the rhythm of his hand and the density, opacity, and translucency achieved by overlapping paint. For Fluidity 11, 12, and 13 (all works cited 2023), he applies a shiny yellow engineering ink in broad vertical strokes on aluminum panels. The place the layers skinny, we see a glimmer of the metallic floor.
For the exhibition “Native mom tongue,” the artist works with restricted supplies: vibrant pigments, metallic, and diverse articles, principally wood, that he’s discovered alongside the seashore in Alibaug. The association of those seemingly disparate objects presents itself as a scenography. Prime makes use of shade to bind, maintain, or lengthen meanings of discovered objects. For instance, in an untitled sculpture, we see three wood planks coated in orange, yellow, and blue paint, respectively. They’re organized on the ground like steps, with a spherical buoy resting atop one finish. For an additional untitled piece, a black round dial precariously balances on the tapering fringe of a wedge of driftwood that’s been painted a burnt orange. The item seems to be strong and heavy, like a rock, however upon nearer inspection one realizes it’s only a bit of froth.
Prime’s inventive follow in some ways borrows from the tenets of his earlier life as a musician; he’s invested in growing rhythms and discovering concord by means of using texture and composition. There’s a lightness to his work, stemming from his nuanced., understanding of his supplies, his mastery of formal construction, and a refreshing dose of trickery.
