Jun 4, 2013
’s sculptural projects often utilize stacked and painted commercial building materials to establish formal and physical relationships with existing architectures including college campuses, shopping centers, museums, and galleries. His studio-based and site-specific works continue to expand the legacies of conceptual and minimalist art, focusing on issues of scale, density, documentation, and systemic progressions. Large outdoor works allow Maltz to establish a dialogue with real estate developers and suppliers, as he borrows or buys quantities of cinder block and lumber for temporary use during the run of an exhibition. Afterwards, these materials (which have been altered with Day-Glo orange or yellow paint) are returned to their source, often used in local retail and home construction.
May 31, 2013
UnNatural History I
by Blane de St. Croix
is a monumental landscape sculpture; a mirrored image of itself with one side mounted upside-down and the other righted. It is a miniature world mounted inside an abandoned natural history museum. The work presents landscapes that are simultaneously real and subliminal, beautiful and devastating, refined and abstracted. The work seeks to present dualities, whose tensions underscore the disparity between the land itself, and the viewer’s projections. (via Fredericks & Freiser
May 31, 2013
" I began making large-scale graphite drawings in 2005 when I was pregnant with my second child. Looking down at my temporarily deformed mid-section, I decided that I would try to draw myself. I hung a sheet of paper on the wall, large enough for a life-size figure, and began to draw in pencil from what I could see by looking down at my own body. Right up until the very end of the pregnancy, I produced several larger-than-life drawings that attempt to convey the massive, sculptural presence of the pregnant body, and to reveal how pregnancy feels without sentimental overtones. Since the birth of my son, I have continued to draw the figure, expanding my repertoire to include portraits of my children and husband as well as self portraits. I now allow myself to work from photographs when necessary, but my focus is still upon reinventing how I see the body through the drawing process. By using pencil and paper almost exclusively, I feel as though I’ve stripped my practice down to the essential in order to convey a maximum of meaning. I use the pencil somewhat like a scalpel, probing the body through line, light and shadow. The drawings may at first appear highly realistic, but a closer look will reveal that the proportions are distorted and that the anatomical details are invented. To a certain extent, working large allows me to “lose control” of the drawing ; not being able to see the whole composition while I'm working on it frees up both the mind and the hand, resulting in distortions that reveal unconscious emotional readings concerning femininity, masculinity, sexuality and aging. In the drawings of my adolescent daughter, either alone or with her friends, I explore awakening sexuality and the transformation of the body. As a mother drawing her daughter, I certainly recognized myself in her and felt re-immersed in my own adolescence. Whether drawing nude couples or clothed teenagers, it’s important that I draw people who are close to me so that emotion can go into and emerge from the work." - Diana Quinby