Exhibition Review: Thomas Ruff: d.o.pe.
Thomas Ruff, d.o.pe. 01, 2022
© Thomas Ruff / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany
Courtesy the artist and David Zwirner
Written by Olivia Young
In his exhibition d.o.pe., Thomas Ruff—a self-proclaimed “dope smoking engineer”—combines artistic vision and technology with intrigue and his life story. During an in-person walkthrough of the exhibition, Ruff describes his youthful indulgence in marijuana and that he enjoyed listening to artists such as Jimmy Hendrix alongside his high. This appreciation of the aesthetics of psychedelia was the foundation for this body of work, advanced by his interest in mathematics and psychics.
Thomas Ruff, d.o.pe. 03 I, 2022
© Thomas Ruff / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany
Courtesy the artist and David Zwirner
His pieces appear never-ending, and the process is as entrancing as the result. Using a specialized software program, Ruff produced geometric patterns laden with so much detail that they’re nearly as hallucinogenic as the end results within the exhibition. These patterns—known as fractal in mathematics—materialize a collaboration between art and science. They are two concepts that appear to oppose each other, and Ruff uses them as modes of enhancement, each aspect intensifying the other.
Installation view, Thomas Ruff: d.o.pe., David Zwirner, New York, September 15—October 22, 2022. Courtesy David Zwirner
Thomas Ruff, d.o.pe. 04 I, 2022
© Thomas Ruff / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany
Courtesy the artist and David Zwirner
When describing his work in the narration, Ruff calls it “fantastical.” His pieces are thematically consistent yet have striking and unique illusory designs. The variation in color and configuration allow each image to adopt its own translation of Ruff’s theme. Within the overall sensation of the psychedelic experience, differing emotions get evoked depending on the piece, all of which possess their own independence despite similarities.
Thomas Ruff’s work is enlarged upon the wall to encapsulate viewers. The texture of the pieces differs from typical artists upon closer examination—because rather than use photographic paper, Ruff prints his images onto carpet. This creative choice makes the abstract work tactile. While admiring the pieces, viewers may feel a compulsion to reach out and touch what they are seeing. There’s an urge to engage with the pieces as deeply as possible, a will to expand one’s consciousness in the way Ruff has depicted.
Installation view, Thomas Ruff: d.o.pe., David Zwirner, New York, September 15—October 22, 2022. Courtesy David Zwirner
Thomas Ruff’s d.o.pe. acts as a lens into human perception achieved through psychedelic design. Though a prevalent concept throughout the 1960’s and 1970’s, Ruff’s technological approach sets his work apart from those of the past. The innovative use of digital imagery strengthens the creative outcome while introducing a method that was previously unheard of. It brings to light the beauty in technology and mathematics—two sciences that commonly separate themselves from the genre of artistic expression. His work demonstrates the power of a mind that hones these skills. Through artificial means, Ruff has been able to depict the inner workings of consciousness and create a tangible representation of the senses.
Thomas Ruff, d.o.pe. 07, 2022
© Thomas Ruff / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany
Courtesy the artist and David Zwirner
Thomas Ruff’s d.o.pe. can be found at the David Zwirner gallery, at 533 West 19th Street, New York. It is available from September 15th to October 22nd, from 10 a.m. to 6 p.m. Tuesday through Saturday.
