Liquid Sky in group show 'Re-Accession: For Sale by Owner' curated by Philae Knight and Amanda Steck

Liquid Sky

Children of the Revolution Cosmic Sex Poem

Paul Pagk wall intervention @ Exhibition on 211 Elizabeth Street
June 9th to June 12th

EXHIBITION
Exhibition is a temporary (six months) independent, art initiative located in a vacant storefront at 211 Elizabeth street in New York. Exhibition offers an experimental and contradictory artistic and curatorial approach. Only a continuous single exhibition will be shown during this six months project. Initiators: Elena Bajo, Eric Anglès, Jakob Schillinger, Nathalie Anglès and Warren Neidich.

1. The work is an intervention upon interventions.
2. The work belongs to no one and is not for sale.
3. The work can be modified, parasitized and destroyed.

1. The artist is drawn from a hat.
2. The artist agrees to these rules in conversation on-site.
3. The artist works in areas determined by a roll of dice.

1. The site hosts a single unfolding exhibition.
2. The site is a vacant storefront at 211 Elizabeth Street in New York.
3. The site is open to the public March to August 2009, Wednesday to Sunday, 12 to 6

EXHIBITION 211 Elizabeth Street

Baukunst Galerie Köln Germany July 28th through Nov 5th 2008

video of opening at Baukunst Galerie



introduction talk by Ulrike Jagla-Balnkenburg at the opening

PRESENT curated by Jay Murphy @ HP Garcia Gallery, 580 Eighth Avenue, 7th Floor, New York April 8th - June 28th 2008

Recent works @ Galerie Eric Dupont 13 Rue Chapon 75003 Paris Oct 27th to December 22nd 2007

To K from P with love. @ Markus Winter Chaussestrasse 104, D- 10115 Berlin, Oct 26th - Dec 22nd 2007

Lexicon and Aftermath @ Moti Hasson Gallery 535 West 25th Street NYC February 21 March 24 2007

Lexicon series 88 oil/tempera on linen 26" x 25" 2006









Ink, 9h pencil and oil pastel on paper 9"x 8" 2006









Lexicon series 84 oil/tempera on linen 27" x 26" 2006











Ink, 9h pencil water color and oil pastel on paper 15"x 14" 2006









Lexicon series 86 oil/tempera on linen 27" x 26" 2006









Graphite, 9h pencil and ink on paper 30 x 22 inches 2004









Tonight at noon oil on linen 64" x 74" 2003









Ink, 9h pencil and oil pastel on paper 10" x 11" 2006









Istance oil on linen 74" x 78" 2003









Ink, 9h pencil and oil pastel on paper 9"x 8" 2006









Fixtion oil on linen 74" x 78" 2003









Graphite, 9h pencil and ink on paper 30 x 22 inches 2004









Ink, 9h pencil and oil pastel on paper 12 x









Graphite, 9h pencil and ink on paper 30 x 22 inches 2004








Four triangles oil & enamel on linen 74" x 74" 2000







Link 0il on linen 65" x 74" 2004









Land 1976 oil on linen 2000








Here, over and around about oil 0n linen 65" x 74" 2001/04





I was several thousand miles away when I found this page. I knew the name of course. But the hand. I forgot how well I knew the hand. There was a period of my life in New York when I had the privilege of meeting Mr Pagk. I can't remember the precise span of time this was but there was defintely a hot summer involved, the summer of love we may have called it. There was a generous Cuban-American with handsome manners, a beautiful French-Vietnamese doctor with a wonderful partner, some acupuncture in there too. There were hot New York streets, Brazilian dancing in Central Park on a Sunday, melting toffee-like tarmac, a tireless Welshman with a hug of genius, the smell of turpentine, exiles, exiles. The turpentine was Mr Pagk's. We were in a room on the lower west side, some tennis on the TV, a piano maybe, shoes, lots of shoes, the US Open I believe on the TV, soft waters lapping like a million Marlon Brando's outside the windows, the sun's reflection like a pot of gold. Consistently, persistently, kind of innocently too, Mr Pagk played and played - a musical instrument? - with form in space, his form, his space, a tilt here, a blast of noble blue or black there, sometimes pinned down by red, and often against white, often with something white, very white, melting ice-cap white, to settle not only the guest shape, the visiting form, but somehow your thoughts as well, as if this man with Anglo-Czech certainty continued to defy - I remember saying - anyone to stop him painting. (He was also always expertly anti-fashion.) So to see this man's work again, to wander through the 'studio' again, brings so much back to me. Except of course the smell of turps.
Peter Bach
April 26th 2006















"Lexicon series"40 oil/tempera on linen 2005









Aftermath oil on linen 78" x 74" 2002









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Graphite, 9h pencil and ink on paper 30 x 22 inches 2004


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Ink, graphite and oil pastel on paper 16.5 x 11.5 2003
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Ink, graphite and oil pastel graph paper 16.5 x 11.5 2003