Kal Mansur’s Stroke paintings explore the shifting relationship between light, surface, and perception. The works appear to contain geometric fields of varying colour, yet each painting is entirely monochrome. The variation is produced by the direction and texture of the brushstrokes, which catch the light differently as the viewer moves around the work. What initially appears fixed becomes unstable, with areas shifting between light and dark, flatness and depth, depending on one’s point of view.
Collector’s Notes:
- A piece from the series, “Damocles,” was acquired by TD Bank for their lauded art collection. Learn more here.
- The series was featured in a solo exhibition by Myta Sayo Gallery at Art Toronto in October 2023. Learn more here.
- The series was reviewed by Mikael Sandblom for artoronto.ca
Acquired by TD Bank for their corporate art collection
Medium: Acrylic on panel, white acrylic frame
Year: 2023
Size: 48" x 48" x 2"
In Kal Mansur's new series of gold paintings he continues his exploration of changing perspectives.
His idea that most of our “differences” would be viewed as similarities with a simple change of viewing angle has been reduced to the minimum number of elements. One colour, one brush.
The angled brush strokes in the paintings create a well defined “border” or line between each section or region. These borders are only viewable because the strokes, made with a wide house painting brush, end where strokes of a different angle begin.
Painted on baltic birch panels and framed in white acrylic, these paintings hold our attention by shimmering as the light of each day and viewing angles change.
“If you just change the way you view something you might completely alter your perception of it,” says Mansur.
This piece was recently acquired by TD Bank for their corporate art collection in Toronto.
Available for viewing at Myta Sayo Gallery in Toronto
Medium: Acrylic on panel, white acrylic frame
Year: 2023
Size: 48" x 48" x 2"
Kal Mansur distills the interplay of light and surface to a succinct, minimal expression. His new series of paintings are made with metallic gold paint and a house painting brush. On first impression, the surfaces appear to be divided into geometric fields of varying shades of gold, some more yellow; some more brown. But move around and you will see the lighter and darker areas swap places. The colours shift depending on your point of view and the angle of light. Move in close and you’ll notice that the sharply defined geometry is textured with prominent brush marks. You’ll also notice that the paintings are completely monochrome. The appearance of different shades is solely due to the textured surface. In this work, no single view is resolved. Whereas some elements suggest receding depth, other elements contradict this reading. We are left with a kind of fragmented space that folds back and forth and eventually leads back to the flat surface of the artwork. The work questions the solidity of borders and their role in mediating everyday life. “If you just change the way you view something you might completely alter your perception of it,” says Mansur.
—The series was reviewed by Mikael Sandblom for artoronto.ca
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