The first monograph to focus exclusively on Paul Sietsema's paintings and drawings.
With depictions of objects that invoke a sense of history, Sietsema explores how images are made and circulated today.
The book opens with a survey essay by Tim Griffin considering this central conundrum of time in the artist's work: “Sietsema outwits his epoch, perhaps, by outlasting it in execution, with his work becoming an article of the past sometimes before being seen, or recognized, in the present.” A series of texts by Emiliano Battista and Eva Fabbris address other core themes, from “circle” and “verso” to “studio” and “hand.” In the extensive plate section, fifty-three works spanning seven years are illustrated in full color. With examples from all of Sietsema's bodies of work on paper or linen, these works showcase the wide range of mark-making Sietsema not only deploys but also depicts, perpetually shifting between material registers in ink, enamel, and acrylic.
Paul Sietsema (born 1968 in Los Angeles, lives and works in Los Angeles and Berlin) has lately been receiving considerable attention for his films and other works. Each specific work by Paul Sietsema can be described as a formalization of the work process — the end phase or perhaps just the suspension of this process—following several years of researching, constructing and layering of the varied, often personally connoted cultural material. Thus, the durational character of films is equaled by the duration of the process of their making—a particular work ethic that informs the work's proper subject, while the motif and medium may vary. Sietsema's drawings and paintings, often realized with the use of idiosyncratic, labor-intensive techniques devised by the artist, usually involve working through existing artifacts, which serve as a starting point for series of material transformations.