Between the Two, ll, 2016, blown black glass installation mapping the shadows/negative spaces between Bernini’s Apollo and Daphne, dimensions vary.
The Shadow of Ecstasy, 2001. Large scale black rubber wall drawing of the shadows traced from a projected image of Bernini’s St. Theresa in Ecstasy.
Installation shots were taken at White Cube, London and CRG Gallery, New York.
Between the Two, 2005, rubber on paper mapping the shadows/negative spaces between Bernini’s Apollo and Daphne from different points of view.
This series of two sided works on paper is a collaboration with writer Sam Anderson. He responded to Melissa McGill’s public art project, Constellation, with typewritten quotes and original pieces. McGill marked the typewritten pages with graphite, pastel, watercolor, Sumi Ink, and charcoal. Then, punching out the periods, punctuation, pauses and/or spaces in the written works with a Japanese hole punch, she created new constellations, illuminated when light shines through the pages.
The Belles forms are made from casts of the hollow interior spaces of 10 different female porcelain figurines. They are positive versions of these hidden empty spaces, which retain a faint and almost ghostly resemblance to their outer shells.
As viewers move around the space to ring The Belles, the work activates the space sonorously. The bell’s sound is juxtaposed with the figure’s abstraction, resonating from the form it once held.
Slipside’s forms were created by casting the hollow interior spaces of ordinary, mass-market porcelain figurines. The results are positive versions of these empty spaces that possess a faint ghostly resemblance to their outer shells. The porcelain castings were made during two Arts/Industry residencies at Kohler in Wisconsin.
This series, shown here in the studio, is titled 100 Breaths (2016) and consists of 100 works on paper. The artist made each drawing with her breath, blowing metal dust suspended in varnish to create drawings that refer to both geography and the body. The gold, copper and silver forms are highly responsive to ambient light and change throughout the day, as the light changes in the room. They flare up and soften as the viewer moves and looks at them from different angles.
Palmas activated the Quarry Pool and encircling paths at Manitoga: The Russel Wright Design Center. It was a two part project : A surround sound installation and a live performance. The work takes its name from the improvised, rhythmic clapping that is an integral part – the heartbeat – of Flamenco. Palmas animated the site aurally, inviting a heightened sense of awareness of the site’s landscape.
Curated by Chiara Spangaro
Location – Venice
Campo Box (Ghetto Nuovo) is on view through June at Giorgio Mastinu Fine Art, San Marco 3126.
The rest of the exhibition was on view from May 9th to May 14, 2017, coinciding with the opening of La Bienniale di Venezia-57th International Art Exhibition.
The Campi is a sculptural sound project that invokes daily life in the Venetian Campo (public city square), exploring the conversation between the visible and the invisible that defines public space.
The project was presented at three locations in Venice, creating an opportunity to explore hidden gems in the city. See more below.
Header Photo: Luca Marella
These digital renderings depict Melissa McGill’s proposal to erase the Indian Point Nuclear Power Plant and replace it with cherry trees.
Constellation is a large-scale sculptural project installed around the ruins of Bannerman’s Castle on Pollepel Island in the section of the Hudson River that passes through Hudson Highlands State Park. Every evening, as the sun goes down, starry lights emerge one by one with the stars of the night sky, creating a new constellation and connecting past and present, light and dark, heaven and earth.