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BETWEEN OBJECT AND IMAGE
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Between Object and Image
March 17 - May 15, 2021curated by Andrea Clark
BETWEEN OBJECT AND IMAGE showcases work where there is a prevalent shifting between two and three dimensionality such as applying sculptural ideas and materials to the wall or erecting a two dimensional plane into three dimensions. This exhibition finds and examines the connections between the work of five artists: Ann Agee, Andrea Clark, Michelle Carla Handel, Sacha Ingber, and Mariana Garibay Raeke.
This exhibition also acknowledges the deluge of digital representation of art over the past 10-15 years, and which we have experienced almost exclusively in this past year of the pandemic. As we swipe through these works on our laptops and handheld devices we experience a constant teetering between the images on our screens and how the works creep toward and engage with two dimensionality. Ultimately the work buzzes within this liminal space.
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One may see works in BETWEEN OBJECT AND IMAGE as starting at the flatness of two dimensionality and moving outward into space. The works take flatness and fold it, play with the shape of the rectilinear edge. Simultaneously, works may start as sculpture and end up on the wall. In Sacha Ingber’s casts, the artist arranges and fixes found and sculpted objects across a single plane, organizing the work to be read as a two dimensional object.
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Similarly, Ann Agee fixes a grid of fifteen rectangular porcelain plates across a welded steel framework in Blue Painting. Agee is known for challenging the hierarchy of decorative and fine art materials and we can see in Blue Painting's presentation that in at least one way this challenge is construed through her organization of space. The work is layered atop a mulberry paper mural of an interior, what Agee calls a 'print' of the objects in her studio. Amidst this layering space collapses: the ceramic plates flatten into the mural, the mural becomes part of Blue Painting.
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Frequent artistic devices, such as the use of grids, folds, and pattern fluctuate between alluding to flatness and fullness as a way of connecting space and acknowledging the shift between two and three dimensionality. There is a persistence in treating material in a sculptural manner, with an ever present recognition of the object's relationship to the body.
"I like how images and objects can inform and activate each other while entering our mental and physical space. The difference between images and objects for me has to do with the way the dimensions of an object mirror those of our own bodies."
-Mariana Garibay Raeke in conversation with Heidi Hahn about shifting between photography and her sculpture practice
What may be seen as abstracted figures in Garibay Raeke's Right Round transect multiple planes, creating a sense of moving body parts that are embracing yet distinct. When looking at Handel's Soft Recall, we can feel the light wooly weight of the string in our palm.
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“For me, pattern is pleasure and a way of solving a spatial issue with a painting device”
-Michelle Carla Handel
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The fold is perhaps the most slippery device engaged in these works as it allows for two sides to be together at once without defining the point of connection, as in the two sides of a coin. Its use points to the artists' concern with depicting multiple sides of things and acknowledging the 'flip' between two-dimensional and three-dimensional space. It is employed as a delicate gesture in the twisted porcelain strip in Clark's elaborate ceramic frame Creepin and in the undulating strokes of Garibay Raeke's Holding Light (iv) whose rounded movement brings to mind a falling band of soft caramel. In Solaris and Vista with dry air, one can image the material beginning as a flat plane that is folded and erected into space.
“When I’m working on a piece, I try to strike a balance between it being able to be read as either an image or an object. Or both. I try to get to that moment where the work could teeter toward one direction or the other, but stays unstable right in between. That space feels very psychologically charged to me, similar to the way that a memory can exist as imagery in your mind but also as a tangible, visceral, physical feeling.”
-Sacha Ingber in conversation with Hallie McNeill for BOMB Magazine
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Andrea ClarkCreepin, 2018, 2021porcelain, stoneware20 ½ x 20 x 3 ¼ inchesView more details
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Mariana Garibay RaekeHolding Light (iv), 2020watercolor and sumi ink on Arches paper16 x 12 inchesView more details
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Sacha IngberVista with dry air, 2018glazed earthenware, epoxy clay, acrylic paint18 x 10 x 11 ¼ inchesView more details
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The grid is a constant hum among these works; it is a ready tool as a framework on which things can hang and cohere objects to a two-dimensional viewing plane. In Mariana Garibay Raeke’s BGM, the grid acts as an intermediary for texture - that thing which creeps into three dimensional space and can be felt by a body - while vigilantly clinging to its facade.
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Mariana Garibay RaekeBGM (Black/Green/Magenta), 2016paper, plaster, pigment15 ½ x 10 x 1 ¼ inchesView more details
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Sacha IngberUntitled, 2016gouache, ink, and colored pencil on paper11 x 17 inchesView more details
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Michelle Carla HandelSqueeze, 2021oil and ceramic on canvas14 x 11 inchesView more details
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The interest in shifting between two and three dimensionality is apparent in the artists' layering and translating of materials and processes, as in Agee's ceramic Blue Painting atop her paper mural. In Garibay Raeke’s plaster wall piece Halite (2017), the artist describes the piece as a plaster ‘print’ that was cast into a hand sculpted mold. In Andrea Clark’s 'porcelain paintings' (Untitled and Warren’s Pond (night, Winter) ) ceramic is used like paint to become a shell-like porcelain paper. Handel uses ceramic, paint, and collected materials with impartiality. Materials confuse and mimic one another without seeking to be identified; they slowly emerge to the seeker’s delight.
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Mariana Garibay RaekeHalite, 2017plaster, pigment14 x 12 x 1 inchesView more details
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Michelle Carla HandelA More Perfect Me, 2021oil, string, and glazed ceramic on canvas11 x 20 inchesView more details
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Andrea ClarkWarren's Pond (night, Winter), 2021porcelain3 1/2 x 2 5/8 x 1/16 inchesView more details
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List of Works
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Michelle Carla HandelSlip, 2021oil and ceramic on canvas11 x 14 inches
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Andrea ClarkFlower 1 with Frame, 2018, 2021porcelain with stoneware frame and porcelain elements, glaze16 x 17 1/4 x 2 inches
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Mariana Garibay RaekeReplica, 2019paper pulp, plaster, pigment9 ½ x 8 ½ x 12 ½ inches
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Sacha IngberMorning Routine, 2019glazed earthenware, vinyl, hydrocal, pigment, Urethane, towel ring34 x 36 x 1 inches
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Ann AgeeBlue Painting, 2012porcelain, welded steel21 x 34 x 2 1/2 inches
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Andrea ClarkUntitled, 2021porcelain13 1/2 x 14 3/4 x 3/8 inches
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Mariana Garibay RaekeRight Round, 2018acrylic on wood panel14 x 11 inches
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Michelle Carla HandelSoft Recall, 2021oil and ceramic on canvas8 x 8 inches
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Michelle Carla HandelTip, 2021oil and glazed ceramic on canvas11 x 14 inches
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Sacha IngberSunset Park, 2016gouache, ink, and colored pencil on paper11 x 17 inches
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Andrea ClarkCreepin, 2018, 2021porcelain, stoneware20 ½ x 20 x 3 ¼ inches
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Mariana Garibay RaekeHolding Light (iv), 2020watercolor and sumi ink on Arches paper16 x 12 inches
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Sacha IngberVista with dry air, 2018glazed earthenware, epoxy clay, acrylic paint18 x 10 x 11 ¼ inches
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Mariana Garibay RaekeSolaris, 2019paper pulp, plaster, acrylic, pigment11 ½ x 14 x 11 inches
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Mariana Garibay RaekeBGM (Black/Green/Magenta), 2016paper, plaster, pigment15 ½ x 10 x 1 ¼ inches
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Ann Agee
Ann Agee (b. 1959, Philadelphia) is a contemporary artist living and working in Brooklyn. Working primarily in ceramic she has increasingly become known for her installations, appropriating traditional decoration motifs and playing with the organization of domestic interiors. Her sculptural works explore subjects both ornamental and narrative touching upon themes personal and social in domestic life, child rearing, and labor. She combines the sensibilities of highly ornate decorative objects with quotidian household interiors to make a signature style that is profoundly complex, laced with play and humor. Agee attended Cooper Union School of Art for her BFA (’81) and received her MFA from Yale University in 1986.
Agee created major installations at the Brooklyn Museum of Art, NY (2012) and at the Philadelphia Museum of Art, PA, (2010). Her work has been seen in prominent clay exhibitions Dirt on Delight, Institute of Contemporary Art, PA (traveled to the Walker Art Center, MN); and Conversations in Clay, Katonah Art Museum, NY. She was a recipient of the John Simon Guggenheim Fellowship (2011), The Louis Comfort Tiffany Foundation Award (1997) and a National Endowment for the Arts Fellowship (1989, 1992), among others. Works by Agee can be found in the collections of: The Brooklyn Museum of Art, NY; The Philadelphia Museum of Art, PA; The RISD Art Museum, RI; The Los Angeles County Museum of Art, CA; The Henry Art Museum in Seattle, WA; The Kohler Art Center in Sheboygan, WI; The Museum of Contemporary Art in Miami, FL.
Andrea Clark
Andrea Clark (b. 1990) is an artist currently living in southeast Georgia, USA. She has completed residencies at Greenwich House Pottery (2015), Anderson Ranch Arts Center (2018), and the Hambidge Center for Creative Arts (2018). She is a recipient of the Windgate Emerging Artist Grant. Recent exhibitions include "Don't Dream It's Over" at ESXLA.
Michelle Carla Handel
Michelle Carla Handel is Los-Angeles based artist. Their work has been featured in several exhibitions at key galleries and museums, including the Wignall Museum, the Torrance Art Museum, Durden and Ray, and Tiger Strikes Asteroid, Los Angeles. She has completed residencies at Anderson Ranch Art Center (2018) and the Vermont Studio Center (2018) and is a recipient of the 2020 Rema Hort Mann Emerging Artist Grant.
Sacha Ingber
Sacha Ingber (born 1987 in Rio de Janeiro, Brazil) lives and works in New York. She received her MFA in Sculpture from Virginia Commonwealth University in 2013. Ingber has been an artist-in-residence at the Skowhegan School of Painting and Sculpture (2013) and the Vermont Studio Center (2010). She is a 2018/19 Sharpe Walentas Studio Program awardee. Recent exhibitions were held at Brennan & Griffin, NY, Hometown Gallery, NY, Reynolds Gallery, VA, Vox Populi, PA, DaSilva Gallery in New Haven, CT, Kunstraum, NY, Coustof Waxman, NY, and PEANA projects in Monterrey, MX. Ingber’s first Chicago solo exhibition was held at Triumph Gallery in spring 2018. She is currently included in the group show “Where the threads are worn” at Casey Kaplan Gallery, NYC through April 17.
Mariana Garibay Raeke
Mariana Garibay Raeke is a multidisciplinary artist working with a range of media that includes installation, drawing, painting, sculpture, and photography. Her work examines ideas of transformation through material explorations guided by process and place. She is interested in making works that capture the ephemeral nature of experience and question our understanding of images, objects, and bodies.
Born in Mexico and based in Brooklyn, Garibay Raeke holds a BFA from the California College of the Arts and an MFA from Yale University School of Art. Her recent solo exhibitions include "To the Center and Back", La Señora, Oaxaca; “closing the space between us”, The Chimney, Brooklyn; and “Every Number is One”, Transmitter, Brooklyn. She has been an artist-in-residence at the Museum of Arts and Design, NY; Anderson Ranch Arts Center, CO; and Pocoapoco, Mexico. She is currently included in the group show “Where the threads are worn” at Casey Kaplan Gallery, NYC through April 17.