• Sakarit Gunkhan (Chankaew) is a Brooklyn-based Graphic/Web Designer & Visual/Concept Artist

26 OCT, 22 “FRIENDSHIP”
BY AGNES MARTIN

Posted at 23:15h in Writing 

Medium: Gold leaf and oil on canvas Dimensions: 6′ 3″ x 6′ 3″ (190.5 x 190.5 cm) Year: 1963

When I first saw the show Beauty and Truth: Agnes Martin at the Guggenheim in 2016, the entire experience was both intriguing and astonishing. I was fortunate enough to witness her major retrospective, which encompassed elements of both Minimalism and Abstract Expressionism. Last week, I had the opportunity to revisit one of her paintings, titled “Friendship,” created in 1963, and displayed in the Museum of Modern Art.  This particular artwork, which I had encountered six years ago, holds a significant place in her career from the early 1960s, as it is one of three paintings in which Martin incorporated gold leaf and gesso, becoming a “hallmark” of her artistic style. Initially, upon a quick glance, I found this painting unappealing. However, after dedicating some time to closely observe and delve into its details, I came to realize that it is incredibly intricate, enchanting, and holds a spiritual essence for me.

At first glance, this minimal artwork left me feeling unenthusiastic. It resembled a large golden blind hanging in a traditional Japanese house, but instead, it adorned a museum wall. Upon closer inspection, however, I discovered the intricate nature of the piece. I noticed that the entire canvas consisted of geometric shapes. The artwork comprised 888 identical rectangles, each covered with delicate, thin gold leaf. Within each grid, there was a small pale red horizontal bar positioned at the center. While the grids were similar, they were not perfectly uniform. Additionally, the surface of each golden grid exhibited a slightly textured appearance. It seemed as though the artist had painstakingly painted and divided these shapes using meticulous techniques and materials. Unfortunately, no further information was provided regarding the meaning or significance of the 888 rectangular grids. Interestingly, the pale red horizontal bar seemed to be the underlying layer, suggesting that the artist applied the gold leaf first and then carefully scratched it off to reveal the thin, pale red line beneath—a technique achieved with oil paint. The precision required to create hundreds of these shapes was undoubtedly painstaking, demanding a sophisticated thought process. Furthermore, the meticulous application of thin gold leaf was time-consuming and required immense concentration. Despite its seemingly simple appearance, this artwork was a remarkable display of intricacy. Consequently, I found myself in awe of the artist’s painting.
Although she did not invent the techniques and styles employed in the painting, it was undeniably enchanting. Agnes Martin covered her entire artwork with gold leaf, a material extensively utilized in panel paintings within Christian art. During the Byzantine and Medieval periods, gold leaf symbolized ethereal, exquisite, divine, and enchanting worlds. As stated in the exhibition text, this particular work is one of three paintings in which Martin utilized gold leaf. This may also allude to her work being a triptych, a format often divided into three panels. Typically, the central panel in a triptych is square-shaped, similar to Martin’s piece, and is often hinged by smaller sections on both sides, allowing for foldability. Triptychs commonly feature gold leaf and frequently depict themes of divinity and power.
Myself and Friendship Painting

Despite the artwork potentially being a personal and subjective creation for the artist, I found it to be profoundly spiritual. The act of crafting such a large-scale piece with delicate gold leaf required both physical and mental challenges. I could sense the artist’s unwavering dedication and discipline embedded within the work. Perhaps it was an exercise in meditation and self-determination, evident in every line she formed, every grid she constructed, every stroke she brushed, every application of gold leaf, every movement she made, and every breath she took. Interestingly, her painting may reveal themes related to “the power of individuality and the importance of nature,” concepts that hold significance in Zen Buddhism and American Transcendentalism—two of the influences mentioned in the exhibition text. Ultimately, if this artwork was not created for public appreciation, it would truly reflect her spiritual journey and intentions.

Though my work differs greatly from hers, consisting of numerous colorful shapes and complex forms, the “Friendship” we share through our creative endeavors bears similarities. We both exhibit qualities such as self-determination, creativity, process thinking, concentration, and an exploration of life’s journey. While her minimalist creations may refine one’s soul through their simplicity, my maximalist designs seek to enrich the mind through their intricacy. As artists and designers, our hope is that the impact of our work transcends boundaries and proves beneficial, to varying degrees, to the public. Above all, we create art with the intention of making our community a better place. This shared purpose forms the most precious bond of “Friendship” that we hold for the world.

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