Curated by Aimèe Burg and Natalia Zubko
Featuring the work of Marin Abell, Kyla Chevrier, Lorraine Dauw, Nate Heiges, Catherine Telford-Keogh
ART LOT, Brooklyn, NY. May - July, 2012.
The Art Lot is pleased to present POP Paradigms - an outdoor summer group show of new, large-scale, sculptural works by Marin Abell, Kyla Chevrier, Lorraine Dauw, Nate Heiges, and Catherine Telford-Keogh. POP Paradigms explores romantic notions of time to create a roaming, restless energy. Bold colors and varied textures generate movement, but time and perspectives shift as pieces freeze, swell, wash away, fade, and deteriorate.
The use of color in POP Paradigms reflects the energy and feeling akin to the summer months. In each instance, the color invites or entices the viewer in what becomes a gateway to a more contemplative, pensive set of worlds that are frozen, slowly morphing, or mesmerizing fields & shapes. The textures range from lumpy, bumpy & dense to smooth, glassy & open forming tangents and parallels between pieces. The romantic notions of pieces changing in time or shifting perspectives keep the show in a flux that continually injects renewed curiosity. This use of color, texture, and time expands the depths of the paradigms within each piece and the possibilities of how they relate to each other and to the viewer.
Using the landscape as a mold, Abell’s Frozen Lake casts a peridot gem. A bright red crane lifts it into the sky, as a rose window, so one can experience the usually unseen side of a body of water. The scale and point-of-view provokes a tension, shifting hierarchies, hoisting earth to sky, illuminating the wondrous to a human scale, creating a meditative lens.
Chevrier’s fleeting pinkish/peach chalk-drawing presents its space in an improvisational way, imagining rules and practical divisions that do not exist. The romance of a dissolving drawing plays with the idea of imagined boundaries, and how easily they are made and unmade. What may be a wall, floor or roof expands in lyrical color block.
Dauw’s piece references a grand piano, sunken, giving a bird’s eye view of the top. Its pared down aesthetic builds from a familiar shape and potential energy. A black void, the closed form creates an ironic quiet that radiates. The waffle-shaped supports reminds one of an oversized engine - a force about to get revved up.
Acting as a playful veil of billowing layers, Heige’s Curtains, composed of draping plastic sheeting and mesh, hangs from the fence. Little knots of hot pink tether the plastic almost mimicking a cushion’s upholstery. Hidden within the sometimes quietly breathing layers are drawings of cowboys and chickens. These sketches speak to the chicken factory next to the Art Lot as well as comment on the astonishing lack of graffiti in the space.
Telford-Keogh’s the proximity between ‘touch and fuck’ injects visceral textures into the POP dialogue. A crude box with layers of containment at the core holds mayonnaise. The box contains mummified seahorses embedded into clogged plumbing. The lumpy, reddish wax legs surrounding the box provoke both pleasure and disgust. The hairy appendage supports obsolete technology (public phones) and the literal decomposing of the mayo over time emulates the decay of the wax leg sculptures. There is a lingering sense of a present moral choice but one of uncertain elements and consequences.
At what moment in these worlds are we being invited in to participate in their idealistic (sometimes sadly, self-aware of an unobtainable ideal) dialogues? There is a cycle that we can’t quite sync up to. The POP of colors beckon and the works pulse with a yearning to experience/capture poignant moments yet there is always a distance - physically or emotionally - that keep these worlds just out of reach. The separational distance of the curtain-like barrier breathing in the wind, the austere distance of the frozen rose window and expansive wedge, and the longing distance of fleeting marks and casketed, decaying remains each try to push us away yet, like the artists, we keep coming back, revisiting and reexamining our place within the Paradigms.
Aimee Burg & Natalia Zubko