Christopher Page focuses on the complex interplay between the so-called ‘imaginary’ and‘symbolic’ registers in architectural space.His paintings, both deep and flat, luminescent andopaque, draw on a visual language reminiscent of geometric. Modernism only to cast a shadowover the noonday sun of its primary forms. Admixing illusionistic oil painting techniques withacrylic paint applied with a roller and airbrush, Page’s paintings produce visual paradoxes thatspeak to our complex visual moment.

On getting closer, Page’s finesse for his medium completely subverts what may at first seemlike “ordinary” pictures. Every inch is a painted concoction. The shadows, and the play of thelight across the ‘glass’: paint. The contours and joins: all fake too, air-brushed to near-perfection. Oddly enough – the painted wood frames lack realistic details – the texture andknots have been missed out, as if Page omitted them intentionally, as a clue. Each of these self-aware paintings are stiffened in a feigned glow, their intensity shifting as flecks of real sunlightbeyond the gallery interfere and bend on to their shadows, mutating throughout the day. ‘LateModern’, which is probably the quietest and most compelling of the trio, has the faintestdappled shadow, so muffled it looks utterly authentic.

Christopher Page lives and works in London, UK. He received his MFA in Painting from the YaleSchool of Art. Recent solo exhibitions include Blind Gallery at Museu de Arte Moderna, Rio deJaneiro; HIGH NOON at Hunter / Whitfield, London and Exterior. (Morning.), at UNIT9, London.Recent group shows include Interiority at Hunter / Whitfield, London; Full Haus: The SeeldLibrary at MOCA storefront, Los Angeles; Mourning Play at Nitra Gallery, Athens; CreativeOperational Solutions at Para Site, Hong Kong and The National or the Skip at the AverardHotel (Slate Projects), London. Recent residencies include Instituto Inclusartiz, Rio de Janeiroand the Container Artist Residency 01, travelling from Athens to New York by container ship.