Untitled
signed and dated 1997 (verso)
oil on canvas
36" x 36" (91 cm x 91 cm)


PROVENANCEAcquired directly from the artist



In this particular piece, Pacquing seamlessly integrates his expertise in both painting and sculpture by predominantly utilizing the color gray. Gray has historically played a significant role in art, serving as both an additive and subtractive element. It has been used to enhance the hue of a specific tone and to add depth to shades of black. Throughout the history of art, gray has been a pivotal element. In the 13th century, gothic artists such as Giotto employed a technique known as grisaille. Grisaille utilized various shades of gray to mimic the appearance and visual elements of sculptures as decorative motifs. While Pacquing doesn't explicitly use grisaille in this piece, the sculptural essence is palpable through his predominant use of gray. What makes Pacquing's use of gray particularly intriguing is its reference to brutalist architecture. Pacquing's gray hues mirror the widespread use of concrete in brutalist architecture. This not only creates an aesthetic connection but also imbues the artwork with an almost structural and sculptural quality. The use of gray effectively adds depth and dimension to a medium that is often confined by its twodimensionality. Furthermore, Pacquing's exploration of the color gray in this piece seems to evoke a sense of timelessness. Gray, often associated with neutrality and balance, serves as a blank canvas upon which Pacquing constructs his artistic vision. By utilizing gray as the predominant color, Pacquing invites viewers to contemplate the interplay between light and shadow, form and void. Overall, through his adept use of the color gray, Pacquing bridges the gap between painting and sculpture, creating a visually captivating piece that transcends traditional artistic boundaries. (Jed Daya)