Rayne’s work tests how painting is responding to shifts in perceptual regimes, labor conditions, and temporal paradigms. Painting has no essence outside of its historical models, thus gathering and dispersing itself at every moment. On that premise, Rayne works on and through the technologies and institutions of painting, placing its conditions of possibility into relief. Rayne’s practice is an ongoing act of revision that creates a catalog of processes and operations. Through this constantly evolving catalog, he produces a discursive and material strategy that creates a plastic interplay between art and the social.
The presentation of works as a series of episodes within exhibitions evokes the organization of serialized writing in sequential installments. Exhibitions are organized as scenographic arrangements like constellations, enabling us to perceive possible relationships between objects. Rayne examines pictorial strategies and operations to translate, decontextualize, fold, and superimpose “scripts” grafted from sites of cultural production.
Blake Rayne: Cabin of the Accused is organized by Javier Sánchez Martínez, Cynthia Woods Mitchell Curatorial Fellow at Blaffer Art Museum, University of Houston. The exhibition is made possible through the generous support of Jim Petersen, Jr. Additional funding is provided by Leslie and Brad Bucher, Jereann Chaney, Krista and Mike Dumas, Cullen K. Geiselman, Cecily Horton, and the John P. McGovern Foundation and support from the Cecil Amelia Blaffer von Furstenberg Endowment for Exhibitions and Program, the Houston Endowment, Inc., the City of Houston through the Houston Arts Alliance, the Jo and Jim Furr Exhibition Endowment at Blaffer Art Museum, and The George and Mary Josephine Hamman Foundation.
Image Credits: Untitled, 2010, Silkscreened acrylic on dye-printed linen with vinyl ribbon, 78 x 51 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; A Line (Almanac), 2013, Eight felt double page spreads with ‘a’ line cut; White felt end pages; Hard cover, hand-bound, 20.1 x 13.2 x 3 inches, Edition of 10 + 3 Aps, Collection of Thea Westreich Wagner and Ethan Wagner; A Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood-mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 min. video, 36 1/8 x 36 x 24 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2005, Oil on canvas, 86 x 78 inches, Private Collection.