Makeup on Empty Space
February 09 - March 31, 2012

Larissa GoldstonGallery is pleased to inaugurate its new ground floor space with the exhibition Makeup on Empty Space, featuring works by Nicole Cherubini, Lauren Clay,Orly Genger, Janelle Iglesias, Fabienne Lasserre, Shana Moulton, Arlene Shechet, Lotte Van den Audenaeren, and Lorna Williams.  The ULAE gallery opens with an exhibition of 3D editions by women including Jane Hammond, Suzanne McClelland, Elizabeth Murray, Susan Rothenberg and Kiki Smith.

The exhibitions will be on view from February 9 through March 31, 2012.  

Nicole Cherubini’s work brings antiquated notions of ceramics into a contemporary sculptural dialogue. Her signature hand-built, thrown and molded clay forms are a marriage of raw, exposed, dry clay pots and “shadow” forms glazed with intensely high gloss,accompanied and supported by materials such as wood and MDF. 

Lauren Clay’s small scale replicas of David Smith Cubi sculptures clad in hand-painted and marbled paper reference early American decorative painting techniques. The pieces poke fun at the somber tones of minimalism and the permanence of large-scale sculpture.

Orly Genger’s Untitled Stack (Orangina Gradient), breaks minimalist sculpture down to into its constituentparts – surface, support and process – and energizes it by creating an object that appears as both a painting and a sculpture.

Concerned with the transformation of found and familiar objects and materials, Janelle Iglesias challenges the cycles of consumption by creating work through a defiant and inventive resourcefulness of means and forms.  Knismesis & Gargalesis is made from detritus found near or in the East River and utilitarian objects from her studio.  The elements are installed in a way that questions the relationship between the two inanimate components.  The seashell embedded into the foam at theheight of an ear is meant to serve multiple functions – reminiscing about pulling the piece from the water and giving the foam an internal ocean.

Fabienne Lasserre’s sculptures develop out of a series of accumulated gestures.  Using linen, wool, felt (made by the artist) and paint, she creates ephemeral fluid forms, which belie their physical rigidity and sturdiness.

The Galactic Pot Healer Ascension by Shana Moulton was inspired by American science fiction writer, Philip K. Dick and his novel of the same name. The only artist in the exhibition to bridge the gap between video, performance and sculpture, Moulton is featured in the video -- robbed in a Snuggie and white gloves - as a Pot Healer, magically fixing broken pots in her clinic. Audio elements and decorative talismans reinforce the Healer's powers.

Like Cherubini, Arlene Shechet operates outside the traditions of ceramics.  Her pieces are a combination of base and ceramic pieces, making a complete sculpture.  The bases are raw bricks with glaze and the cast elements are brilliant non-traditional “figures” covered in equally non-traditional painterly glazes.

The site-specific installations, urban interventions, neon sculptures, word images and ephemeral works of Lotte Van den Audenaeren revolve around the determination of place and content. Vanden Audenaeren shifts presence, use and context. She explores and unfolds multiple-layered perception by simple de- and re-construction of visual representation.  Her works have a tendency to appear barely present or in the process of disappearing – like light, shadows or apparitions.

In the same way Iglesias relies on found source material, Lorna Williams gathers detritus from her life, including paper, branches, beads, bones, shells, bottles, dreadlocks and creates mixed media collages,paintings, and sculptures.  The items have been collected over the course of travels, living, and circumstance.  Williams is “fascinated by the functions that all materials, whether human-made or natural, are subject to performing and is always searching for the possible relationships among them—always seeking to assemble, arrange and connect themin ways that speak to concepts that I am visually processing.”

Larissa Goldston Gallery