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Roberts & Tilton is pleased to present Perfect Day a group exhibition exploring the syncretism of beauty within imperfection. The work on view will highlight the shifting of paradigms necessary to find beauty within imperfect gestures, the parallels between systemic ideas of perfection and modes of ideal image construction, and how the works on view engage with these possibilities.

What brings us to a perfect day?

Is the perfect day a seemingly sweet love story? Is it marked by the simplicity of narratives driving most timeless pop music. Or, is it the laid-back fantasy daydream of compiled experiences. Can one re-visit the perfect day, as one might revisit a book fresh, or does it evaporate once experienced? The perfect day is an auspicious contradiction, defined only as cumulative moments passed, seen through the lens of perspective; while experienced in the present, the realization of its presence lags achingly behind.

Perfection is fleeting, maybe illusory, always at a distance. The word alone neatly sketches a world. Yet a tenant of perfection is its very incompleteness, since only the latter can attain innovation, or sustain change. Roughness arising from aesthetic disruptions, rather than detracting from, add singularity and elegance; often, the most interesting effect happens without intention, a byproduct of what was originally predetermined. These subsequent “errors” present within accurate abstractions form constructed images that appear uncanny, subtly deceitful in the transmutation of old signifiers into new.

The works on view are conversational in their approach: artful while uplifting, subtle yet populist, affective rather than academic. They elude straightforward classification, deftly using the representational as a point of departure into the abstract, allowing the subject to become incidental to the compositional form created. This conceptual turn of analysis complicates notions of how art, as containers for the idealizations and constructions of the artist, transforms at the point where the work and the viewer intersect.

Here, in the light of the perfect day, distortion transforms an instance of banality into one of harmonious beauty, and then back again.

Andrew Pasquella

Andrew Pasquella
Confess, 2016
Rubber and pigmented resin on board
48 x 36 x 2" (121.9 x 91.4 x 5.1 cm)

Robert Russell

Robert Russell
Tonic Immobility, 2015
Oil on canvas
9 paintings each 12"x12" framed installed with a 5" space between them

Ohad Sarfaty

Ohad Sarfaty
Outside Looking In, 2015
Acrylic, latex and graphite on wood panel
48 x 48 in (121.9 x 121.9 cm)

Ohad Sarfaty

Ohad Sarfaty
A Day In The Park, 2015
Acrylic, latex, graphite on wood panel
32.38 x 77 x 3" (82.2 x 195.6 x 7.6 cm)

Tschabalala Self

Tschabalala Self
Sunshine, 2016
Fabric, flash and paper on canvas
40 x 30 in (101.6 x 76.2 cm)

Tschabalala Self

Tschabalala Self
Greeneyed, 2016
Oil, acrylic, flashe and fabric on canvas
44 x 30 in (111.8 x 76.2 cm)

Lisa C Soto

Lisa C Soto
His Supercluster Cosmic Remnant, 2016
Charcoal, thread and paper
72 x 39 in (182.9 x 99.1 cm)

Lisa C Soto

Lisa C Soto
Unraveling My Spacetime Continuum, 2016
Charcoal, thread and paper
48 x 52 in (121.9 x 132.1 cm)

Ardeshir Tabrizi

Ardeshir Tabrizi
Gradient Sunset, 2016
Pearlescent ink and acrylic paint on a unique canvas print
44 x 30 in (111.8 x 76.2 cm)

Ardeshir Tabrizi

Ardeshir Tabrizi
SS Colorway Yellow Tint, 2016
Pearlescent ink and acrylic paint on a unique canvas print
42 x 35 in (106.7 x 88.9 cm)

Taylor Tschider

Taylor Tschider
Core Sample #4, 2016
Artificial sweetener, polyurethane foam, acrylic, wood
62 x 82 x 9 in (157.5 x 208.3 x 22.9 cm)

Taylor Tschider

Taylor Tschider
Core Sample #3, 2016
Artificial sweetener, polyurethane foam, acrylic, wood
62 x 82 x 8.5 in (157.5 x 208.3 x 21.6 cm)

Stanley Bell

Stanley Bell
Portable Holes, 2016
Mixed media on canvas
24 x 24 in (61 x 61 cm)

Stanley Bell

Stanley Bell
A Genie (#boutthatlife), 2016
Mixed media on canvas
30 x 30 in (76.2 x 76.2 cm)

Daan den Houter

Daan den Houter
Without De Kooning and Eraser, 2016
Latex on oil paint over panel
11.8 x 15.75 in [30cm x 40 cm]

Rory Devine

Rory Devine
Untitled (Private Party), 2016
Galvanized pipe, silver and gold vinyl balloons, plastic, spray paint, artist's breath, sliver and gold glitter, low voltage lights, monofilament
75 x 72 x 16 in (190.5 x 182.9 x 40.6 cm)

Martin Durazo

Martin Durazo
The Adventurers, 2016
Single channel video, running time 4:04, edition of 3 with still prints
Flash drive and 5 (4"x6") still prints

Jeffrey Gibson

Jeffrey Gibson
The First Time Ever I Saw Your Face I Knew We Would Be Together Forever, 2016
Glass beads, artificial sinew, canvas, steel studs, on canvas over wood panel
40 x 30 in (101.6 x 76.2 cm)

Jeffrey Gibson

Jeffrey Gibson
I Wanna
I Wanna
I Wanna 
Be Adored
, 2016
Glass beads, artificial sinew, wool, tin jingles, steel studs, on canvas over wood panel
40.5 x 32 in (102.9 x 81.3 cm)

David Huffman

David Huffman
Liberation, 2014
Acrylic, glitter, and spray paint on canvas
36 x 24 in (91.4 x 61.0 cm)

Nathan Kitch

Nathan Kitch
Coffin, Summer Collection, 2016
Acrylic on canvas over panel, figured maple, coroplast, fabric, foam, buttoms, sapele plywood, walnut plywood, walnut, padauk, chrome, brass hardward, oil/wax finish
36 x 26.5 x 14.5" (91.4 x 67.3 x 36.8 cm) (packed dimension)

Gibran Mevlana

Gibran Mevlana
Gladly Beyond, 2016
Chain link fencing, nylon, spray paint, acrylic, and photograph by Ray Moreno
58 x 56.5 x 5 in (147.3 x 143.5 x 12.7 cm)