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| Flat/Not Flat |
| Petah Coyne is known for her extraordinary suspended wax assemblages
combining taxidermy, flowers and female figures. Her work goes to the
core of sculptural practice, challenging and creating new solutions to issues
of gravity and support, permeability and structure. On view is one of
Coyne’s sculptures that projects from the wall depicting a bird poised
precariously on a drooping branch. Photography is an adjunct to Coyne’s
primary medium, but the connection to her sculpture and its thematic
and formal obsessions is undeniable. Her photography is about continual
movement and change and her procedure is to shoot a moving object while
at the same time moving in the opposite direction. As a result, only some
portion of her subject is in focus, while the remainder is blurred.
Siobhan Liddell’s impromptu paper meditations occupy a middle ground
between drawing and sculpture. Employing the most prosaic materials
and lightest touch, she barely seems to intervene in the construction of her
works, yet her gentle ironic pieces are formally sophisticated and extra-
ordinarily resonant. In two works shown here, sheets of paper are cut,
colored and stacked into what is perceived as a vortex when seen from above.
Sheila Pepe’s installations and wall drawings are familiar to Boston.
For this show Pepe will contribute a site specific piece using black and white
shoelaces along with a new series of ink and gouache drawings which though
small in scale display a vigorous muscularity that stands up to the drama of her
sprawling suspension piece.
In a new series of wall sculptures she calls ‘Restless Shelves’ Jill Slosburg-
Ackerman explores issues of site and context- in this case, creating a collision
between aesthetic and functional objects. The artist has created a paradigm for
both sculpture and furniture in these hybrid works that hover somewhere
between two worlds. |
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