Not exact matches
The three vertical panels, in addition to referencing the traditional
triptych format, appear to be horizontally subdivided into three regions: a relatively quiet area along the top, bordered by a long squeeze
of red paint that crosses the
surface from left to right; a densely layered strip across the center, where the majority
of the collaged elements are concentrated; and a band
of brightly colored stripes that fills the bottom.
Writing is often integral to Calle's work, as in her 2014
triptych Suicide (also on view), in which photographs
of dark ripples on the
surface of black water are accompanied by text sandblasted on glass: «They say the police can distinguish between people who drown themselves for love and those who drown themselves for money...»
Their relationship was one
of extremes, and the full range
of emotional and psychological heat seethes and glitters through the richly textured
surface of this gem - like
triptych.
Some standouts included Davy and Kristin McGuire's whimsical holographic video sculpture from their Fairies series (Muriel Guépin Gallery); Chris Dorosz's Stasis 97 (Riot), an intriguing series
of figures painted on a sculptural installation
of acrylic rods, structured so the grouping conveyed a sense
of three - dimensionality and movement (Scott Richards Contemporary Art); Lalla Essaydi's Les Femmes du Maroc: Harem Beauty # 1, a large chromogenic print
triptych of a recumbent «harem beauty» in a full - length gown, rendered exotic with ink inscribed text over the
surface of the figure (Jenkins Johnson Gallery); and Lava Thomas's Cloudscape Portrait 9401, a luminous laminated pigment print (Rena Bransten Projects).