Galleri urbane dallas




















This ambiguity is highlighted in a number of multi-panel works that serve as individual frames for animated images of doors. In these works, doors bend from unknown hammering forces and light flickers through a keyhole as a peeping figure peers from the other side. This potential for violence is reflected across a number of other embroideries. Silhouetted figures appear in works like Scared to leave, scared to stay and It comes for you, whether you planned for it or not , drawing guns or even shooting them into the air.

A mob of club-boasting figures parades through a scene in another work. Each leaves viewers to imagine the events leading up to the depicted frame as well as the aftermath of these climactic situations. Still, Frederiksen provides plenty of foils for these sinister displays. In Heavier than it looks a cartoon figure comically struggles to lift a sword, while faulty baseball gloves in Set up for failure promise laughable outcomes.

Whether futile or not, this sense of hope and joy sings through the shows darker moments. Another sewn dollar bill is positioned for the taking underneath a box propped up by a stick, bringing this common trope of classic animation into the real world. Peter Frederiksen b. He attended the School of the Art Institute of Chicago, focusing studies on painting, drawing, and fibers. His work has been exhibited extensively in Chicago, and most recently in London and Milan, and can be found in numerous private collections.

Galleri Urbane is pleased to welcome back artist and architect Gail Peter Borden for an exhibition of new paintings and sculpture. Through single unit and multi-panel compositions across a range of new series, Borden forges art and architecture and explores the perceptual potential within defined systems of shape and color. Vibrant hues create edges, corners, and planes, forming micro environments within each panel.

Perspective is harnessed for effect as angled projections imply depth and space to the human eye. Glossy resin surfaces homogenize the brushstrokes below, transforming each scene into an industrialized art object. The paintings are often presented as modular units of larger clusters, inviting the potential for more complex environments to arise in the overall composition.

A series of four vertical 24 x 12 paintings utilize a simple two-color palette to establish edges. In this exhibition, methods and materials of display commonly utilized by galleries and museums are installed in conjunction with hardware store materials in an attempt to highlight their visual similarities despite belonging to disparate environments with very different behavioral expectations.

Mack juxtaposes these seemingly low-brow elements with iconography of the art institution to complicate the narrative of the gallery as a neutralized space. The iconographic form of the pedestal calls attention to what is important and worthy of desire. Along with grip tape that mark acceptable standing perimeters found on the floors of museums, pedestals point toward boundaries: directing the movement of bodies and dictating appropriate behavior towards objects of value.

In their installation, Mack calls attention to the normalized functions of these elements by queering them through scale, material, and orientation. These alterations serve to exaggerate the role of the pedestal, directing a clear awareness within viewers for their position and movement throughout the space.

Central to the exhibition is the use of the ceramic hydria, a pottery form from Ancient Greece used to carry water. Created with three handles, the forms literally reference a non-binary approach to an object and are reinterpreted with holes and bottomless forms, disrupting viewers expectations of how these vessels should perform and provide valuable function. Ratchet straps secure a set of hydriae to a leaning framework, simultaneously providing stability while threatening to crush the precarious ceramic object.

This anxiety is manifested through an installation of crushed ceramic shards.



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