Marc Wise

There’s an obsolete definition of the word midway that
refers to a medium, middle course or state. There is also
the common usage: between two points—halfway: a
place that brings to mind Zeno’s paradox, cutting
distances in half, until the infinity of division leads to
the entirely unlocatable point from which we were
previously working toward getting to (and where did
we start?). Much of the work in this project was
conceived and executed in Chicago, home to Midway
Airport—a place renamed to honor an important
battle. During World War II, my grandfather was
aboard the USS Yorktown, which eventually sank in
the Pacific during the Battle of Midway. Distances can
be managed by loose, but tangible connections. In a
more direct and literal way, the paintings in this group
have undergone a kind of division, or travel (they may
in fact, still be in transit). The convention of the
stretcher has been removed; the the substrate has not
been prepared. This splitting of distances—and their
in-betweens—can be further explored by gesture: the
space between painting and drawing, between the
painting and the wall upon which it is placed. There is
much given to the consideration of seepage, an
interplay between material and color, arrival at a point
that happens only with time, at that time.
More than anything, the work aims toward the state of
being between. One that could always, at any time, in
any location, be referred to as midway.