Forward by Sandy Heller
It is with great pleasure that I write this updated foreword to mark the second exhibition of ES 23. Part II - NOT SO ABSTRACT not only continues ES 23's artistic journey but also deepens and expands his vision.
Since the inaugural exhibition, ES 23 has both honed his technical mastery and continued to push creative boundaries. This new collection draws inspiration from his childhood to the present day, creating a compelling narrative through his work.
Each piece resonates with rich layers of meaning, inviting viewers to engage deeply and reflect on their own experiences. ES 23 has crafted a body of work that encourages multiple interpretations, ensuring that this exhibition will leave a lasting impression on all who encounter it.
The artist known as ES 23 was born in 1964 in the Union of Soviet Socialist Republics (USSR), in what is now present-day Russia. Although both of his parents were mathematicians, ES23 had a natural inclination towards the arts from a young age at five he was painting and drawing, and by ten he was admitted to one of the most prestigious art schools at the time (no longer extant). In 1989, he emigrated to the United States and has worked diligently in a variety of jobs within the oil and steel industries to support his painting practice.
ES 23 transforms simple shapes into complex, fantastical arrangements. For example, in Farmer and His Friend (Figure 1) the dreamy, gestural brushstrokes of the sunset-colored background contrasts sharply with the bold, stark lines of the tractor and driver. The artist's masterful command of color renders hues of blue, purple, yellow, pink, and orange layered upon one another to create a dense, complex sky, expanding upon the aesthetic ideas of modern artists like Josef Albers and Bridget Riley.
Figure 1. ES23, Farmer and His Friend
Figure 2. ES23, Untitled.
The playful and colorful forms in ES 23's figural works, such as Untitled (Fig. 2), bring to mind the fantastical imagery of Paul Klee (Fig. 3). Both artists create powerful, yet charming individuals that seem to float upon hazy clouds of striated hues. The blue and green ground of Untitled essentializes the subtle tones of Klee's Portrait of Mrs. P in the South, creating a forcefully provocative composition.
Figure 3. Paul Klee, Portrait of Mrs. P in the South, 1924, watercolor and oil transfer drawing on paper, with gouache and ink on paperboard mount, 14 3/4 x 10 3/4 inches (37.6 x 27.4 cm, Solomon R. Guggenheim Museum, New York.
Untitled also recalls the spirited wit of artists like David Shrigley, who similarly employs unembellished imagery and bold linework to humorous effect (Fig. 4). For instance, in ES 23's Untitled, the weight-tifter's bulbous ears are mirrored in the weights at either end of the barbell that he holds in his hands, offering an amusing interpretation of so-called "boxer's ear" that has plagued wrestlers since ancient times.
Figure 4. David Shrigley, Untitled (Elephant Chooses to Stand on Your Car), 2004, ink on paper, 21 11/16 x 16 3/8 inches, 55.3 x 41.8cm. Tate, London
ES 23's dynamic application of color and shape expands the boundaries of geometric abstraction to create mesmeriiing forms, recalling the complex compositions of works by artists liko James Siena, whose captivating arrangements similarly explore themes of color and repetition (Fig, 5).
Figure 5. James Siena, Tanagra, 2006, lithograph, 28 7/8 x 43 3/16 inches, 73.4 x 109.7 cm. Museum of Modern Art, New York
ES 23 does not make preparatory sketches, but instead works out his ideas and form directly on the canvas, allowing him to explore themes and materials more freely. Like other abstract artists including Siena, Bridget Ritey and Blinky Palermo, ES 23 deconstructs geometric abstractions into their most basic, essential elements, then builds them up again into vibrant, unexpected compositions (Fig. 6).
Figure 6. ES 23, Untitled
Painted after the October 7 attacks on Israel, many of ES 23's works act as introspective reflections of turbulent times. In Red Heli (Fig. 7), the brash, red brushstrokes above the helicopter resemble more an explosion than propellers, evoking emotions of anxiety and conflict.
Figure 7. ES 23, Red Heli
Figure 8. Jim Shaw, Cloud Chamber, Utopian Landscape 4, 1988, pencil on paper, 6 7/8 x 13 7/8 inches, 42.86 x 35.24 cm. Museum of Contemporary Art, Los Angeles
The artist's fatalistic plumes recall Jim Shaw's imagery (Fig. 8), which also features visually overwhelming compositions that linger within the viewer's mind. In Red Heli, ES 23 combines compelling imagery with bold color to great effect, communicating urgency and disaster through the painting's bold coloration and direct linework.
Figure 9. ES 23, Stars of David.
Figure 10. Blinky Palermo, Times of the Day I,1974–1975, Acrylic on aluminum;
4 panels, each: 22 3/8 x 20 1/2 inches, 56.8 x 52 cm. Did Beacon, New York
ES 23's oeuvre is diverse, complex, and often autobiographical. His portrayal of Jewish symbols and figures signifies a deep-rooted connection to his faith. Additionally, his colorfully repetitive works like Stars of David (Fig. 9) are reminiscent of paintings by the modern abstract painter Blinky Palermo, who was also invested in spatial relations expressed through tone and repetition (Fig. 10). However, ES 23's powerful iconography adds an emotionally charged and poignantly personal element to his works.
Figure 11. ES 23, Small Caricatures
Figure 12. Raymond Pettibon, No Title (And his mouth...), ink and colored ink
on paper, 18 7/8 x 12 5/8 inches, 47.9 x 32 cm, museum of Modern Art, New York
The artist's Small Caricatures series similarly makes meaning through repetition (Fig. 11). The Caricatures act as a series of self-portraits, while also offering a nuanced and introspective reflection of Jewish identity. Like the figural, caricature work of artists like David Shrigley and Raymond Pettibon (Fig. 12), ES 23 infuses his personality and identity into his works, creating an accessible, yet deeply personal rendering of himself to his viewers.
ES 23 in his Studio.