Curated passages of midnight black and royal
blue frame a shaped vertical on red at the centre of this acrylic collage on a round panel.
Not exact matches
The effects of the cluster's gravity can be seen in the
blue arcs and distorted
shapes that are scattered across the
frame, including galaxies that seem to be bleeding into the surrounding space.
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In Un Bárbaro en las Sierras (A Barbarian in the Hills)(2015) Cambre experimented on an unstretched canvas with a series of squares and rectangles in several colors
framed by bright yellow lines; he translated the arrangement into
blue on another square canvas, then copied the same
shapes, but in different positions and in green, for an outdoor mural in Buenos Aires, before finally rearranging them again for a brown canvas in yet another configuration.
The highlights: Sylvia Jeffriess's shimmering
blue print with various snippets of text on aluminum, Nickolas Calabrese's two gritty abstractions, one
framed in a craggily
shaped frame (cf. John Seal's recent outing with goofily constructed
frames at Gavin Brown's Enterprise downtown), and Megan Plunkett's large photos that appear to have been snapped inside a van and spliced together with architectural projections.
To
frame these works, Billingham painted pale
blue and pink grids on the walls as well as constructed three wood and chrome dinghy -
shaped sculptures, which rest upon
blue watercolor tapestries and hold a pair of paintings each.
Also of note here were the handsome series of abstract collages, «Time Memory» (2010 --RRB-, which articulate the archaeological sense of accumulated time that informs the iconic «Scrapbooks» project (1977 --RRB- included in this year's Venice Biennale, as well as the three - story high structural work in the museum's atrium, Time Memory / BIBAI (2013), with pale -
blue neon highlights accentuating the
frame of a rusting bowling - pin -
shaped tower.