Last year’s completely disrupted cultural calendar also finally gave him the flexibility to start painting again. Arsham hadn’t returned to the medium in a focused way since his days at Cooper Union, in part because he couldn’t find the time to finish anything on a major scale. Quarantining with his family on Long Island from March until the end of August presented as good an opportunity as any. “I brought a bunch of paper with me to make drawings, and probably after a month or two, I had done enough,” Arsham says. “So I brought some canvas out, came back to the city, and got all my paint.” Isolation heavily informed what he made: “In every work there’s usually one figure, sometimes two or three, and they’re in these massive, sublime landscapes. [I was] looking at a lot of 19th-century Romantic painting, and there was this idea that Ludovic [Laugier, the national heritage curator in charge of Greek sculpture in the department of Greek, Etruscan, and Roman antiquities at the Louvre] reminded me of when I was with him in Paris, which was the Italian tradition called capriccio. They would take a sculpture that was at the Vatican and a work from the Louvre and put them in a different location, so there was this sort of fantastical combination of things that could never exist in the same space,” Arsham says.
Daniel Arsham, Cave of the Sublime, Iceland, 2020. Acrylic on canvas. Framed: 227.5 x 318.1 x 13 cm | 89 9/16 x 125 1/4 x 5 1/8 in. Inspired by the concept, he created a capriccio with his own work, painting versions of the sculptures appearing in “Time Dilation” into those landscapes. “So you could have a scenario in the exhibition where you’re looking at a sculpture, and then there’s a painting of it where it’s a hundred feet tall,” he says. (The canvases themselves range in size from about seven by six feet to nine by seven and a half; one, comprising four different panels, measures 10.5 by 15 feet.) They represent impossible conversations that make something weird and wonderful out of our material reality.
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