AOSHIMA, 2023 Acrylic, pumice, calcium hydroxide on canvas 50 x 40 inches 127 x 101.6 cm. Courtesy of the artist Jean Nagai and Diane Rossenstein Gallery. Copyright Jean Nagai all rights reserved.

‘Signal to Noise’ curated by Michael Slenske @ Diane Rosenstein Gallery

January 20, 2024

Diane Rosenstein Gallery offers a refined collection of fine art curated by Michael Slenske with their Signal to Noise opening. Amidst the healthy appetite for playing with material on canvas, there is the strength in being delicate with the appearance, to inform the subject with what is fine in fine art.


And that is conscientiousness of effort at perfection to beautiful detail. The works by Richard Tinkler and Jean Nagai give us the strongest demonstration of this success with their powerful yet subtle media compositions. Within each modest scale there is a treasury of tacticle playfulness, seriously arranged to prompt healthy awe. This is the end of the good: gratitude.


What makes us grateful to experience such true beauty? Efforts at such painstaking attempts at truth can be wrought with failure. Perhaps it is the confidence in the abstract organization of the colors; perhaps it is in each artist’s choice in being this minute in the completeness of their surfaces.

F4A1.2, 2023.
Oil on canvas.
40 x 30 inches.
Courtesy of the artist Richard Tinkler and Diane Rossenstein Gallery. Copyright Richard Tinkler all rights reserved.

Mr. Tinkler’s F4A1.2, for instance, plays with textured lines which arrive at more than Milanese Cathedral contentment at geometrical relations. For with his creation, we have, simply, enjoyment in the experience of his uplifting colors – so absent the suggestion of darkness, of void – we are left in a mesmerizing splendor which is a coupling effect of the original texture with the colors which impact that certain sense of inner happiness, of joy, of peace on earth through such an elegant form of conduct – perceiving rather than willing.


Aoshima, 2023
Acrylic, pumice, calcium hydroxide on canvas
50 x 40 inches
127 x 101.6 cm. Courtesy of the artist Jean Nagai and Diane Rossenstein Gallery. Copyright Jean Nagai all rights reserved.

Such tactility is also represented in Aoshima, Jean Nagai’s contribution to the group exhibition. And that is in the confident roundness in, not blots, but little orbs which extend so gently outwardly, that the composition is entirely adjoined to the originality in texture. The abstract arrangement of colors is again superb in giving us an absent of desire to reason; to understand; but to move the mind into a place of desiring experience as an end itself. This is true beauty; this happiness prompted by the attempts at knowing perfection.

Flashe, acrylic, tempera, graphite, paper, canvas collage, adhesives
80 x 76 inches
203.2 x 193 cm. Courtesy of the artist Strauss Bourque-LaFrance and Diane Rossenstein Gallery. Copyright STRAUSS BOURQUE-LAFRANCE all rights reserved.

Last but not least, we are given two other artworks which present texture in an uncanny way. The first Moon Clown by Strauss Bourque-LaFrance leaves us confident in its grandish scale of the contentment of blemishes in effort. The sweet scuffs and lacking finishing of the cut out geometrical pieces abstractly assorted permits us to be relaxed compared to the physical endurance sustained by the previous artists. We have a truer understanding, then, of endurance, of accomplishing a goal which requires a reminder that the giving is the goal, irrespective of prejudices about what perfection ought to be: who are we to deny right-order which is comfortable with the sense of scrapes?


Oil stick on foil insulation foam panel
96 x 48 inches
(243.8 x 121.9 cm). Courtesy of the artist JPW3 and Night Gallery and Diane Rossenstein Gallery. Copyright JP3W all rights reserved.

Likewise, Grow House 4 by JP3W gives us an pseudo-aluminum appearance in the material representation. The insultation material provides a healthy industrial glitter – absent that sense of toxic pesticidal residue, of wastelines and short-sighted profiteering. Instead, industrial man extends himself here with moving away from utility to beauty. And it is these ends made possible by such complex rational coordination, which accords Mr. [] the power to beautify our worldly representation without a redundant political critique. Leave the pathos to the dramatists and rhetoricians. Fine art needs a space free from these vocational frictions. It needs a spiritual path which is honestly motivated toward absolute perfection; towards timeless beauty. Towards an eternal end.

For more information, please contact the gallery:

Diane Rosenstein Gallery

831 N Highland Avenue

Los Angeles CA 90038

t. 323.462.2790


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