As an artist, Pageo not only fullfills her constant duty of constructing her
subjectivity, but does it in such a fragile and tricky field as collage, which
sometimes seems to be ruled by a systematic ad nauseam repetition of naïve
cliches. After many hard working years, her images bear witness to a self-
learning process which, little by little, has displayed a strong potential and gone
beyond several induced mandates.
This infinite roads leading toward self-construction, which takes place on
the artist’s relationship with the image, entails a shift from a period that was
characterized by a conscious will of naming, of clearly presenting her imaginary
content –in a designerly way, one might say-, to a period in which everything
starts being phisically incarnated, thanks to her own development of technical
skills. In this sense, Pageo’s work undergoes a metamorphosis from pure
figurativism –in which the formal elements depended on a certain narrativity- to
pure realism –a structurally true construction conceived to be watched.
I think it’s important to point out that this evolution doesn’t raise from a
substantial variation in her imaginary –she actually keeps working with similar
stuff- but from the way that material is used: the technical experience –
knowing how to make and how to look- gives entity, pictoricity –like a sort of cut
painting-, modeling, to her work. Plastic elements that in the beginning were
submitted to a fixed idea now rest upon the surface to construct the image and its visual
opacity. ¿Aren’t those black areas in the photographs just marks of light,
photographic matter acquiring presence while showing off the impossibility of
a representational equivalence?. ¿What are those shadows that quietly outline
and define something as eminently flat as a collage?, pure nonsenses that
stop the gaze in the surface of the picture. They come to break the illusion of
achieving an alleged meaning and then they become mere spots, mere blots.
¿Could there be a being more given to be seen than those carnal tondos?
Pageo gets rid of the discursive inertia that used to engage her to an imaginary
role –a feminine but paradoxically masculinizing one it was, because of that
stereotypical ideation of femininity and the conviction of stating things in a total,
objective way- and when she flops down on the structure and lets herself be
swept along, in that precise point, her traced subjectivity is put to actuality.
by Héctor Rey – visual & sound artist
Maia Flore – Sleep Elevation
“Those Have you dream by day are cognizant of many things All which escape Those Who dream only by night,” Edgar Allan Poe.This is how girls thesis, carried away by objects in the air, let Themselves travel through boundless landscapes. Flying: towards dreamed lands, making a real attraction betweens the full character, His perfect universe and the World They Live in: that is Where thesis girls lead us. Their contorted movements are merging with the shape of the one revealing Their passion. Mix of an imaginary realism and childhood memories, thesis beings in levitation invite us to dream, limitlessly. – Via Agence VU
To see more of Maia Flore’s work go here.
The work of Anna Virnich.
**All images are from www.raum-drei.de
The work of Chris Wiley.
**All images are from www.chriswiley.net
This is a serie of photographs shot on the last two years in Brazil, France, and San Francisco. Since I got my first film camera from my dad a few years back, a gorgeous Nikon F 1972, I’ve been collecting all kinds of cameras, Holgas both 120mm and 35mm, a 110mm tiny one, Lomography ones, a Polaroid and so on. I load them all with all kinds of films and here you have a fun random collection around my walks and travels.
Paul Lee’s vocabulary possesses quiet force. His unspoken narratives investigate the meaning and conquest of desire, using a language that is and on the verge of absence-a mark via the form of a trace, a trace that wipes away any particular subjective resonance, appointing it in another form.
In Emerald, Lee’s second solo exhibition at maccarone, new works evidence his ritualistic studio practice. With washcloths and towels cut up, hand sewn together and dyed with ink, the materials absorbing function – a mirror to the skin – is displaced. The gradual loss of a cell’s increment is redefined by space and light, with desire punctuated by color. Suggesting a state of movement on and through these objects, within their layers of absence the viewer takes on, unravels and shares an object’s space in a pure state. Lee is known for sculptures that reference the body while emitting a physical intimacy, yet these new larger works restate his consideration of the human tactile experience in an expanded domain. Lee’s reconstructed tambourines reverberate scale and depth. Built up with basswood and paint on the instrument’s skin-like surface, they address containment and the deliberate withholding of the object’s usage. Lee’s tambourines favor the ardent possibilities found in the image – with color, line and space, and a blissful sense of liberating something from its inherent content.
Lee’s works are not the whole, but a portion; in their longing for completion, they touch upon key elements of our existence. With subtle symbolism, what Lee both hides and reveals about the body acts as its own political act, informed by the artist’s generational history which time has not forgotten.
Paul Lee was born in London in 1974, and has lived and worked in New York since 2001. He was artist in residence at Chinati Foundation, Marfa, USA in 2007. Paul Lee’s work has been included in the recent exhibitions Absentee Landlord, curated by John Waters, Walker Art Center, Minneapolis, USA (2011-2012); Moon River (solo exhibition), Stuart Shave/Modern Art (2011); Flaca / Tom Humphreys, Portikus, Frankfurt-am-Main, Germany (2011); Eliminate, curated by John Waters, Alberta Merola Gallery, Provincetown, USA (2007); and The name of this show is not Gay Art Now, curated by Jack Pierson at Paul Kasmin, New York, USA (2006). Public collections include The Dallas Museum of Art, The Walker Art Center, RISD, and The Morgan Library.
630 Greenwich Street
NY, NY 10014
212 431 4977
March 5 – April 13th, 2013
**All images and text are from www.maccarone.net