New York
Sometimes the intentions of artists do not fit the categories assigned to their mediums. There can be cross-overs between sculpture and painting, for instance, in which the connecting link is about content rather than form. Such was the case with “Hearts and Bones,” a show that featured installations and drawings by Judy Pfaff and paintings by Kharis Kennedy. Curated by Michelle Loh, “Hearts and Bones” was a curiously intense exhibition with a certain poetic resonance that connected the two artists. Pfaff’s commanding Turtle (2016), a major floor-to-ceiling installation, revolves around a large circular digital print, borrowed from a painting by Henri Rousseau but utterly transformed, covered in resin with hardened lumps of expanded foam creating a landscape of pressed fauna, all held together with binding wires attached to the ceiling. One might call this the centerpiece of the exhibition given its theatricality– the relation of whole and detail unfolded across the space in an effect not unlike that of pointillism. The fantastic beauty of Turtle emerged in the process of walking around it from a distance and seeing the majestic evanescent forms slowly passing through one another. …see the entire review in the print version of December’s Sculpture magazine.
