In partnership with the Greenwich House, Irena Jurek and
Diana Buckley are pleased to present the group exhibition, Finite Infinity from
September 28 – October 29, 2012. Five New York based artists evoke perceptions
of time through varied contexts. Lyotard describes a rumination of time that
mirrors the idea of Finite Infinity in his essay, The Sublime and the Avante
Garde, when he writes how "optical pleasure when reduced to near
nothingness promotes an infinite contemplation of infinity."
Matt Jones’s improvised approach emits signals analogous to
listening to a transcendental crescendo found in a Philip Glass score. His
paintings pulsate, dilate, and mutate in a vast vortex, typifying the totality
of the universe. Jones offers three works that not only depict space, but a
colorless, staccato, rhythmic dance defining dimensions which tap into
hypotheses of theoretical physics. The immediate is recognizable but his
poignant approach allows the audience to access the inexpressible and
unattainable nature of being.
Climbing the wall, organic, loose, and stretched form is a
malleable structure with indistinct traits—a reflective undertaking in which
Fabienne Lasserre utilizes, and deals with the fragility and imperfection found
in human existence. The artist describes, I create “things” – simultaneous
metaphor and real – that function in a system of porous categories and unstable
identities.
Osamu Kobayashi’s paintings consist of floating volumes
fixated by subtle play. In other words, an enigmatic aesthetic inadvertently
leads to double meanings, like an imbalanced scale where mass and substance
come and go. Kobayashi’s style runs the gamut of artists who have come to see
shape and form as philosophical. The paintings Wave, Sun and Cool Love weave
together diverse dialog where a mastery of space adds margin to the shows’
aesthetic.
Korakrit Arunanondchai offers a glimpse through the keyhole
at a glittering world, by means of a hypnotic palette, which enables dopamine
to ignite in the sense that the effect is the artist's goal. Arunanondchai’s
work does not portray a ubiquitous allegory but an infinite space in which to
daydream. By drawing attention to the tension between the real and the
imagined, Arunanondchai manages to distance himself from the putative tradition
of abstraction.
Molly Lowe transforms the banal and everyday into psychologically
riveting objects. Office Chair and Heineken Geode are constructed sculptures
that are photographed, with an accompanying expiration date. These works remind us
not only about paradoxes surrounding impermanence, but how bizarre,
fascinating, as well as disturbing everyday existence can be, with death around
the corner and discomfort in the present. With Lowe’s photographs, the sublime
accesses the suspension of reason in the face of Finite Infinity.
Image: Molly Lowe / Office Chair / 2012 / Mixed media sculpture, photograph / 20 x 30 in
Group Exhibition in partnership with the Greenwich House
September 28, 2012 – October 29, 2012
Curated by Diana Buckley and Irena Jurek
