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
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March 5 – April 13th, 2013
**All images and text are from www.maccarone.net
Erin McKenna is a mixed-media artist based out of Columbus, Ohio. Her “We’re Going on Vacation” series (pictured above) is made from altered pieces of hot tubs. To see more of McKenna’s work go to her website.
Elad Lassry was born in Tel Aviv, Israel and now works and lives in Los Angeles, CA.
Working with both found imagery from vintage magazines such as Life and Time, and his own slightly unnerving photographs, Lassry displays his images in frames (often sickly coloured) which are as important as the images themselves, since they immediately remove the photographs from any editorial context and make them singular, powerful pieces. Sometimes it’s hard to tell what’s old and what’s new imagery, since he shoots his own photographs like cheesy promotional headshots or outtakes from early computing manuals. “I’m fascinated by the collapse of histories,” says Lassry. “And the confusion that results when there is something just slightly wrong in a photograph.” -An Other
“We have three wheels and the driving force of any man to set in motion the consumerist dream. Man is a small carrier in Shanghai. It comes moreover, these dirt roads where the bike lane ocher, light, between rice paddies. It is those migrants who simultaneously discovered the gray ribbon of asphalt, Shanghai skyscraper which are strange and shoulder capitalist totems made of bottles, cartons, crates and tires. man buckling under these piles pedal but still, balancing maintains its trajectory. At each turn of the wheel, it vibrates the “big factory of the world” and is entitled to a share of this incredible cake. flush man is the image at the bottom of the social ladder. Nothing says it will not be a day at the top of the new buildings of the metropolis . In this series with bright colors, Alain Delorme said nothing else. Between the absurdity of the materialistic world and the dream immutable and ascension of man, we have to find the right path., and turn the wheel. “ Natacha Wolinski / / Excess in total equilibrium / / Air France Magazine / / August 2011
*Translated from the French by Google translator.
To know more about his Alain’s work go here.
The work of Andy Boot.
**All images are from www.lesliefritzgallery.com
I found out about Achim Mohné while visiting the photo gallery Carte Blanche in San Francisco. They were selling the magazine European Photography and Achim’s work was on the front cover of one of their issues. My favorite is the second image from top down. It is like a rain of stars following on the moon.
Here you can find out more about him and other projects.