Michael Raedecker's exhibition embodies an important principal of Gallery 2, solidified for me when I discovered that he shared my aspiration to create a substantial show without the hype and scrutiny that the scale of many New York spaces seem to foster. In fact, his interest in the work, his clear long-term vision and confidence in his personal practice further reinforced my judgment of Raedecker and the significance of his work.
When most describe Michael Raedecker's paintings they seem to begin with a discussion about the materials and technique that he uses. In another artist's work, a man meticulously and arduously hand sewing on canvas might emerge as the basis of the content of the work. However, what is compelling about Raedecker's work is how purposeful and integral the medium is to the whole physical impact without being the subject itself. One does not think about the demanding labor when looking at the work, nor does one think it an odd or obscure technique that he employs thread among his medium. One sees the whole picture and it makes sense. There is a fantastic magic in the work. All of the slow time in the making seems to allow for openness in his psychologically lonely and empty landscapes and interiors. When in front of Raedecker's work, the medium disappears into pure experience. If one imagines the process of making the work it only strengthens the depth that the work encompasses.
Noticeably, Michael Raedecker has received much attention in Europe. As well as having been included in a number of museum group exhibitions in the past few years, he has also recently had a one-person exhibition at the Stedelijk Van Abbemuseum in Eindhoven and was one of four nominees for the 2000 Turner Prize.