You drove a Hyundai to get here. George Shaw drove an eighty-thousand dollar BMW. THAT’S his name…
Installation view
An unbelievably heavy pink balloon collapsing on a beam
It falls within field
Two serpents
Australian artist Todd Robinson suspends disbelief and a law of physics or two with his current exhibition Suspense Sculpture at CHASM. In further developing his interest in how works of art are viewed, Robinson presents objects that behave contrary to their nature. The playfulness of this approach belies a serious enquiry into the negotiation between our cognitive and embodied abilities to make sense of what we see. It’s like being provoked by the almost unbridled desire to touch the objects to reassure ourselves that seeing is believing. Or not.
Adesso (pannello rettangolare con alveare)
Brillo & Archie
Composizione e Scomposizione
Composizione n. 12 (Cicogne)
Composizione n. 13
At Sperone Westwater, in a critique of “modern consumption and its resulting detritus,” Italian artist-duo Bertozzi & Casoni present floor and wall sculptural works that address the concept of decay. In vast, dynamic arrangements of found objects sourced from rubbish, comments about obsolescence, re-using and re-sourcing, and the creation of new resources abound. Beyond polemics, however, what fascinates the eye beyond the scale and power of the assemblages is the eventual discovery that everything one is seeing is an individually crafted ceramic object. Here the everyday reaches a higher aesthetic.
Happy ending
Happy twice
Sunny disposition (better luck next time)
Sunny disposition (there’s always tomorrow)
Undisturbed state
In Sunny Disposition, Greg Bogin’s first show at Marlborough Gallery, there’s a lot going on in what is a well-balanced, geometric abstract series of wall pieces with historical and cultural references, from 70s flares to airbrushing, surfing, billboards, and cars. What at first appear as painted sculptures made from panels are, in fact, paintings created by forcing fabric into complex contortions over variously shaped wooden panels. Working with “optimism and positivity,” Bogin finds a meditative purity in bands of deep colours reinforced by layers of glossy urethane clear coating.
