In a post at my new blog on Glasstire, I discuss the relationship between Rudolf de Crignis (currently showing at Lawrence Markey) and La Monte Young, as a way of exploring uses of the term minimalist. This comparison could be extended to some of the other minimalist composers, such as Phill Niblock, who activate architectural space through dense layers of sound at high volume.
But it’s worth noting that while the perceived variation induced by the Dream House’s standing waves calls attention to the physical space, the effect of these relatively small de Crignis paintings is to absorb the viewer in an alternate, purely visual space. It is perhaps the same effect Francis Bacon aims at when : “You would love to be able in a portrait to make a Sahara of the appearance — to make it so like, yet seeming to have the distances of the Sahara.” So while de Crignis’ paintings play with visual perception in a way that is analogous to Young’s or Niblock’s effect on the ear, they are perhaps more disorienting because they absorb the viewer in layers of paint, supplanting for a moment the physical space around them. It is interesting, though, that de Crignis is sometimes compared to James Turrell, an artist who does work with light sources and architecture in a way that is more obviously akin to Marian Zazeela’s light installation in the Dream House.