Each of the sculptures present in the exhibition have been dyed with natural dyes that are responsible for creating the tones and the chromatic range: the red comes from the cochineal (Dactylopius coccus), the yellow from turmeric (Curcuma longa) and the indigofera blue (Indigofera guatemalensis). Continue reading Sandra Monterroso
In the mirrors I can stretch my face and cut off my tongue. It’ll grow back but outside of the
mirror I have no magic tricks and I’m sad. I can’t even talk to the Prophet and Saint outside of
the mirror. Continue reading Diamond Stingil
Making art with extremely different tools and media helps you take control and lose it, back and forth, over and over. I work on these paintings with brushes and pens and fingers, and sometimes my feet. Recently I’ve also been suggesting words to an AI, and we go back and forth until I get an image I like. I apply it to the painting using a reverse-transfer technique often used for shirts and stickers: I print the image on film and lay it face-down on liquid plastic poured on the painting, and when I lift the film the image transfers into the liquid, usually a little raggedly. While it’s wet I can finger paint in it, or tilt it to let it run, or blow on pigments and powders. Then I go back in with a brush. When the painting starts to feel like a problem, I photograph it and put the photo in a 3D cinema program, where I add simple virtual objects like planes, tubes, hemispheres, and algorithmic patterns. I print these back on to the real painting at a large industrial facility. This is risky because one error can destroy something I’ve worked on for months. It happened to two paintings that were supposed to be in this show. Continue reading Seth Price
In Interiors Patricia Dauder focuses her gaze on the experience and perception of the interior space from a sensory and mental approach. Interiors that can be unknown or remembered spaces, places that can only be grasped through the idea of trace, residue or memory. Continue reading Patricia Dauder
+ Gagosian
I made these pots in lockdown during the spring and early summer. I was alone in my studio and silent and I needed to make vessels to touch and hold, to pass on. I needed to return to what I know—the bowl, the open dish, the lidded jar. Continue reading Edmund de Waal