#SculptureNotebook

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FEATURED ARTIST: ektor garcia, installation view of kriziz, kurimanzutto, Mexico City, 2016. Courtesy of the artist and kurimanzutto, Mexico City, Mexico. Photo: Abigail Enzaldo.

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This post is part of our Connective Tissues series.

-JH

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FEATURED ARTIST: Tau Lewis 

Tau Lewis (b. 1993) is a Jamaican-Canadian artist living and working in Toronto, Ontario. A self-taught sculptor, Lewis combines natural and synthetic materials to create simulations of living things. She considers the history and symbolism of each material, exploring the political boundaries of nature, identity and authenticity. Her work is bodily and organic, with an explicit strangeness and subtle morbidity. Her current practice relies heavily on her surrounding environment; she constructs sculptural portraits using found objects, repurposed materials and live plants sourced from urban and rural landscapes. She connects these acts of repurposing and collecting with diasporic experience and black bodies. Her portraits are recuperative gestures that counter persistent tendencies to erase or peripheralize black artists and narratives within Canadian art and history.

Lewis has exhibited at the Art Gallery of Ontario, the Spring Break Art Fair in New York and New Museum, New York. She has received support from Toronto Arts Council and Ontario Arts Council. Recent and forthcoming exhibition sites include: Night Gallery, Los Angeles, USA; COOPER COLE, Art Gallery of York University, Toronto, Oakville Galleries, Toronto, and Plug In ICA, Winnipeg.

Tau Lewis, Everything Scatter (Army Arrangement), 2017. Christmas cactus, soil, chain, wire, polyurethane, plaster, epoxy, chalk pastel, pvc pipe, paint can, rebar, cinderblock. 30 x 10 x 10 inches. Courtesy of the artist. 

Tau Lewis, something joyful, 2017. Plaster, wire, fur, leather, fabric, pillow stuffing, stones, human hair, acrylic paint, shopping basket, jute. 67 x 20 x 32 inches. Courtesy of the artist. 

Tau Lewis, georgia marble marks slave burial sites across America, 2016. Plaster, cement, acrylic paint, chain, high gloss finish. 18.5 x 12.5 x 8.5 inches. Courtesy of the artist. 

Tau Lewis, Untitled (play dumb to catch wise), 2017. Installation view at cyphers, tissue, blizzards, exile, exhibition at 8-11 Gallery, Toronto, Canada. dimensions variable. Courtesy of the artist. 

www.sculpture-center.org 

- SS

[sculpture-center]

FEATURED ARTIST: Jes Fan

Jes Fan’s studio practice is rooted in a haptic approach to understanding how identity is materialized, biologically and ontologically. Approaching materials as molecules, their sculptures examine the bio-politics behind identity formation. From sex hormones to silicone, soap to moisture, they use substances that are imbued with erotic and political signifiers to address their concerns in diasporic politics, transgender identities, and posthumanism. Designed as feedback ecologies, their installations are allegories for seeing our bodies as sensory systems that require output, input, and efficient maintenance. At the core of their practice is an urgency to queer the static notion of the “normative,” and most recently they have been subverting familiar artifacts related to rituals of beauty and wellness.

Jes Fan (Canada/Hong Kong, China) lives and works in Brooklyn, NY. They completed a BFA in Glass at Rhode Island School of Design in 2014. They are the recipient of several awards, including the Pioneer Works Residency, Edward and Sally Van Lier Fellowship at Museum of Arts and Design (MAD), CCGA Fellowship at Wheaton Arts, and John A. Chironna Memorial Award at RISD. Recent solo shows include “No Clearance in Niche” at MAD Museum, NY; “Disposed to Add” at Vox Populi Gallery, PA; and “Ot(her)” at Brown University, RI. Currently, they have work on view with “In Search of Miss Ruthless” at Para Site in Hong Kong and “Threshold” at Underdonk Gallery in Brooklyn. This fall, they will be exhibiting as part of “Timeshare” at the Zaha Hadid Residential building in Chelsea, as well as a group show at UrbanGlass curated by Osman Yerebakan. In 2018, they will participate in a group show at the NARS foundation curated by Tiffany Shin and in a group show in San Francisco curated by Glenn Adamson.

Jes Fan, Soft Goods I, 2017. Digital Inkjet Print. 22 x 28 inches. Courtesy the artist.  

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This post is part of our Connective Tissues series.

-JH

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FEATURED ARTIST: Mira Dayal, Chine-collé (detail), 2017. Hair, Methyl cellulose, paper. 18 x 24. Courtesy the artist.

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This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: Jes Fan, Stranded between one act and another, 2017. Hair and resin. 15 x 7 x 4 inches. Courtesy the artist.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: Phoebe Collings-James

Phoebe Collings-James’ work has an emotional intention, seeking to evoke feelings of disconnection, location, violence and desire - interrogating the ubiquitous symbols and materials of the places we inhabit. Recent works deal with a collapsible space in between the two islands to which she is rooted, Jamaica and Britain. Taking form in sculpture, drawing and sprawling sound poems collaged from field recordings, live work with musicians and sound libraries.

Phoebe Collings-James (b.1987, London, UK). Recent exhibitions include Harlem Postcards, Studio Museum Harlem, ATROPHILIA, Company Gallery, New York, Just Enough Violence, Arcadia Missa, London and Blood on the Leaves Blood on the Roots, Preteen Gallery, Mexico City. She created CUNT TODAY in 2013, an online platform to explore contemporary feminisms and has been asked to speak on the subjects of race and feminism in spaces including Tate Britain, The Cass School of Art and Architecture and WOW at Royal Festival Hall. Upcoming in 2017 she will be creating a soundtrack for a touring solo performance by long time collaborator, choreographer Jamila Johnson-Small and opening her solo exhibition Expensive Shit at 315 Gallery in New York City.

Click here to listen to Phoebe Collings-James’ Primordial Soup (Expensive Shit)

Phoebe Collings-James, 2-Step, 2017. Birch plywood, nylon safari straps, Ohm speaker. 48 x 70 inches. Courtesy of the artist. 

Phoebe Collings-James, Bodied, 2016. PP sacking, lacquered poplar frame. 70 x 70 inches. Courtesy of the artist. 

Phoebe Collings-James, Mad Bad Nina Simone, 2016. PP sacking, bird feathers. dimensions variable. Courtesy of the artist. 

Phoebe Collings-James, ok ok ok, 2014. Plaster. dimensions variable. Courtesy of the artist.  

www.sculpture-center.org

- SS

[sculpture-center]

FEATURED ARTIST: ektor garcia, installation view of kriziz, kurimanzutto, Mexico City, 2016. Courtesy of the artist and kurimanzutto, Mexico City, Mexico. Photo: Abigail Enzaldo.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: Jes Fan, Testo-Candle, 2017. Depo-Testosterone, wax, candle wick, silicone. 8 x 5 x 6 inches. Courtesy the artist and Jacob Schuerger.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: ektor garcia

ektor garcia’s work synthesizes an interest in queer culture and arts and crafts traditions with strong roots in Mexico. Although he is ostensibly a sculptor, his works tend to be so elaborately installed and involuted that it is hard to say where things end or begin. Evocative of a homemade altar, collection of ritual or fetish objects, garcia’s environments feature artifacts fashioned from an amalgam of techniques including leather making, ceramics, sewing, welding, embroidery, and collecting. The objects themselves are known to range from handmade ceramic cups to leather cock rings, to dog muzzles, which are often combined with recycled and appropriated materials to engender hybrid forms resisting classification. When not appropriated, everything is crafted by the artist, who makes a point of learning each and every technique he uses, however imperfectly.

ektor garcia (b. 1985, Red Bluff, California), lives and works in New York. A child of migrant farm workers, he has lived and traveled frequently between California and Mexico. Garcia received his BFA from The School of the Art Institute of Chicago in Fiber and Material Studies in 2014 and received his MFA from Columbia University in 2016. Recent exhibitions in 2016 include Matthew K. Abonnenc and ektor garcia at Sargent’s Daughters, New York, NY; “Contemporary Ceramics” at LeRoy Neiman Gallery curated by JJ Peet, New York, NY; “Touching The Membrane” at Space Create, Newburgh, NY; and in 2015 a two person show at the Can Gallery, a project by Lia Gangitano, New York, NY. He will be participating in the New Museum's upcoming group show “Trigger,” as well as a solo show at Visitor Welcome Center in Los Angeles this fall, and a solo show at Mary Mary in Glasgow in 2018. 

ektor garcia, installation view of kriziz, kurimanzutto, Mexico City, 2016. Courtesy of the artist and kurimanzutto, Mexico City, Mexico. Photo: Abigail Enzaldo.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: Nicole Cherubini (b. 1970) participated in SculptureCenter’s 2005 show, Make It Now: New Sculpture in New York. Some of her most recent work explores a manipulation of processes and properties of sculpture and more specifically, clay.

Photo 1: Nicole Cherubini, A Pair of G-Pots with Lions, 2005. Ceramic, luster, fake gold and silver jewelry, chain, crystal ice, white, red and brown rabbit fur, rhinestone brooch, marbleized formica, black Plexiglas, blue foam, tar gel, plywood. 36 x 68 x 53 in. Courtesy of SculptureCenter and the artist.

Photo 2: Nicole Cherubini, Stella, 2016. Earthenware, terracotta, glaze, magic sculpt, pc-11, ink, kiln furniture. 68.5 x 18 x 20 in. Courtesy of the artist.

www.sculpture-center.org

This post is part of our SculptureCenter Yearbook series.

-SH

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FEATURED ARTIST: Samara Golden, The Flat Side of the Knife, 2014. Installation view, MoMA PS1, Long Island City, NY. Courtesy the artist.

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This post is part of our series Aerial Perspective: Viewing and Being Viewed from Above.

-ID

[sculpture-center]

FEATURED ARTIST: Joanna Malinowska (b. 1972) participated in SculptureCenter’s Summer 2003 In Practice show. Her recent show, Not a Metaphorical Forest at Canada Gallery, New York, featured works that question the relationship between man and nature through formal arrangements.

Photo 1: Joanna Malinowska, Untitled, 2003. 9-channel video/ audio installation. Courtesy of SculptureCenter and the artist.

Photo 2: Joanna Malinowska, Evolution of a Paddle, 2015. Wood, paper, metal, plastic, textile. Dimensions variable. Courtesy of Canada Gallery, New York.

www.sculpture-center.org

This post is part of our SculptureCenter Yearbook series.

-SH

[sculpture-center]

FEATURED ARTIST: ektor garcia, installation view of kriziz, kurimanzutto, Mexico City, 2016. Courtesy of the artist and kurimanzutto, Mexico City, Mexico. Photo: Abigail Enzaldo.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: Mira Dayal, After DM, 2017. Digital scan. Dimensions variable. Courtesy the artist.

www.sculpture-center.org

This post is part of our Connective Tissues series.

-JH

[sculpture-center]

FEATURED ARTIST: Virginia Overton (b. 1971) participated in SculptureCenter’s Summer 2009 In Practice show. She was commissioned in 2016 by The Whitney Museum of American Art, New York for Virginia Overton: Sculpture Gardens, an installation for one of the museum’s decks.

Photo 1: Virginia Overton, Untitled, 2009. 8′ ladder. Dimensions available. Photo: Jason Mandella. Courtesy of SculptureCenter and the artist.

Photo 2: Virginia Overton, Installation view of Virginia Overton: Sculpture Gardens (Whitney Museum of American Art, New York, June 10–September 25, 2016). Photo: Ron Amstutz. Courtesy of Whitney Museum of American Art, New York.

www.sculpture-center.org

This post is part of our SculptureCenter Yearbook series.

-SH

[sculpture-center]

READING ROOM: Fred Moten and Wu Tsang, Who Touched Me?, If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, 2016.

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This post is part of our Intimacies series.

-JH