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How little is enough? How much can be taken away before a piece crumbles? My process of reduction is ultimately intended to be an act of generosity. In each piece I’m looking for the point at which reductions give the most. It’s an appealing contradiction because it prompts one to reconsider the concept of abundance and the nature of giving. |
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| 2007 |
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BEAT
MINUS SPACE project space, Brooklyn, NY
Curated by Matthew Deleget and Rossana Martinez |
In December 2007 MINUS SPACE presented BEAT. The piece translated an earlier work, Lena's Beat, from an intimate wall piece to a large-scale installation and performance. BEAT combined specific, yet inherently unrelated elements: color and music. The shared space and resulting energy were the focus of the work.
The performance took place on Saturday, December 8, from 4-6pm, and consisted of two hours of solo drumming by Peter Catapano, Paul Corio, David Grollman, Nancy Polstein and Douglas Witmer. BEAT was a collaborative work that was completed by the participation of the drummers and all those who attended. |
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BEAT, 2007
acrylic paint, drum kit, live performance with musicians
painted square: 8.5' x 8.5'
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| David Grollman |
Nancy Polstein, Paul Corio, Peter Catapano |
Douglas Witmer |
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Material Matter
Sideshow Gallery, Brooklyn, NY
Curated by Katherine Griefen |
Thin pieces of gold-plated chain hang from selected points on the ceiling to form a piece that simultaneously fills the room and is nearly invisible. The installation, The Reason I Sing, is inseparable from the room that supports it. A person in the room is in the work. As a result, the viewer and the work share the space and collaborate with one another.
The gold metallic surface of the chain has a wide range of associations, spanning many eras and locations. Ethereal, iconic, urban. It's familiar but hard to pin down. |
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The Reason I Sing, 2007
gold-plated chain
site specific installation, room 10' x 22' x 25'
gallery views
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All is well that begins well and has no end
80 Washington Square East Galleries
New York University, New York, NY |
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Norse Wall (variation), 2007
Plexiglas
40" x 102" x 13"
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detail views |
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Escape from New York
Sydney Non Objective, Syndey, Australia
Curated by Matthew Deleget |
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When was the last time you danced? (detail), 2007
gold plated chain, brass pin
51" x 1/16" x 1" |
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| 2007 Selected Studio Work |
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Shine Like a Song
copper pipe, gold plated chain
36" x 17" x 1"
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detail
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Dillingham
fluorescent Plexiglas, upholstery nails
24" x 24" x 1/4" |
Chadwell
fluorescent Plexiglas, upholstery nails
24" x 24" x 1/4" |
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Certain
Plexiglas, uphostery nails
12" x 12" x 1/4" |
additional view
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The Weather is Sweet
This project is a collaboration with Rossana Martinez, a Minus Space artist. Part drawing, part performance,
the project is a pair of walks. In winter and summer Rossana and l walked from our studios through the city to meet at the midpoint between our spaces. As we walked, our bodies traced a line through the streets, creating an invisible drawing on New York.
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Summer Walk
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| Winter Walk |
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| As an extention of this performance piece I produced Plexiglas and thread drawings that trace our route through the city. The drawings accompany the photo documentation as a lasting representation of our walks. |
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The Weather is Sweet - Drawing I, 2007
Plexiglas, thread
12" x 12" |
detail
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| 2006 |
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Presentational Painting III
Hunter College Times Square Gallery, New York, NY
Curated by Gabrielle Evertz
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Unexplained Fires, 2002/2006
Plexiglas, acrylic paint
Plexi panels: 4' x 4' each, room size variable
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Lithe, 2001/2006
aluminum screen, acrylic paint
10' x 5' x 5' |
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I Can't Quite Place It...
Smack Mellon, Brooklyn, NY
Curated by Elizabeth Grady
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Using unusual approaches to navigating spaces and occupying places, the artists in I can’t quite place it… radically alter their environments, transforming them in an effort to subvert structures both architectural and social. |
Addressing the nature of perception and our movement through space through their insistently human scale, installations by Lynne Harlow have a formalist elegance that belies their sophistication. By reducing her interventions to simple geometric forms comprised of painted surfaces and light, permeable materials like fabric scrims, and hardware cloth, she creates a weightless atmosphere suffused with light.
- Elizabeth Grady, Curator |
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An Echo of Solitude
chiffon, tape
144" x 66" x 1"
site specific installation |
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Intellectual Rigor
Marymount Manhattan College, New York, NY
Curated by Millie Burns
In this two-person exhibition, my light-reflective Plexiglas drawings were paired with the dense, tactile drawings of Minus Space artist Li Trincere. |
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Shake Some Action, 2006
Plexiglas, nails
9" x 39" x 1" |
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For Savion Glover 1, 2006
Plexiglas, brass nails
12" x 12"
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For Savion Glover 2 , 2006
Plexiglas, brass nails
12" x 12" |
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For Savion Glover 3 , 2006
Plexiglas, brass nails
12" x 12" |
For Savion Glover 4 , 2006
Plexiglas, brass nails
12" x 12" |
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The Searchers
White Box, New York, NY
Curated by Patricia Maloney |
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The Searchers is an exhibition of paintings, works on paper, video, and sculpture exploring the contradictory and lingering cultural impact of the frontier in the American psyche. The included works swagger with bravado and poke fun with sly humor, evoke a sense of longing, and underscore the fine line between a utopic and dystopic vision, where optimism gives way to compromise and resignation.
- Patricia Maloney, Curator |
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Limitless and Lonesome
acrylic paint, bench, original recorded music
paint: 90" x 120", room size variable
music by Haber/Randall/Zemelko |
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| Installation view at White Box |
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| 2006 Selected Studio Work |
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Lena's Beat
acrylic paint on paper, original music on cd
drawing: 21" x 21", cd: 4.75" diameter
piece can be made as large scale installation and/or performance
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Gulhane Park
copper on wood panel, acrylic on wood panel
each panel: 10" x 10" x 1/2"
Panels hang on opposite walls precisely facing each other
at a height of 53".
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Play Summer Wind
Plexiglas, brass nails
8" x 8"
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| 2005 |
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New Prints 2005 - Autumn
International Print Center New York, New York, NY |
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| IPCNY organizes New Prints exhibitions to showcase printed works made within the last year. Works are selected by a panel or an individual and the resulting shows underscore the broad range of contemporary prints. |
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Limitless and Lonesome
silkscreen on paper, original music on cd
paper: 22" x 30"; cd: 4.75" diameter
edition of 10 |
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| 2005 Selected Studio Work |
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Stealing Honey from a Swarm of Bees
Plexiglas, matte medium, foam
drawings: 8” x 8” each, box: 2.25” x 8.6” x 8.6”
open edition
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| View of Stealing Honey, private collection. |
additional view |
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Four Kicks
pair of Plexiglas boxes
each box: 4" x 24" x 24"
edition of 10 |
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Perfect Dresser 1 - 3 (from a series of 6 drawings)
gouache on paper
8" x 8" each |
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| 2004 |
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There is a Light That Never Goes Out (concerning the spiritual in art)
dumbo arts center, Brooklyn, NY
Curated by Michael Wilson |
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Wade
cotton lycra, acrylic paint
site specific installation, dumbo arts center |
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4 x 4 x 4
New Arts Program, Kutztown, PA
Curated by Linda Francis |
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The Audacity of Hope
chiffon, acrylic paint
113" x 64" x 53"
(permanent floor mural by Keith Haring) |
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| 2004 Selected Studio Work |
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Yema
chiffon, acrylic paint, original recorded music, grapefruit & cucumber scent
room size: 13.5" x 14" x 16", may vary |
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Swagger
copper pipe, satin
1.5" x 36" x 1/2" |
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| 2003 Selected Studio Work |
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I spent a good part of 2003 exploring ways to use both wall and floor to create installation pieces that encourage movement and response. I wanted the viewer to be a participant, setting up a relationship of collaboration between us. I looked for ways to do this with as little as possible, making full use of color and material and, most importantly, space. |
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A Truer Sound
chiffon, acrylic paint |
The Warning, Musical
copper pipe, acrylic paint
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The Hour, Irrevocable
copper pipe, acrylic paint
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To Carve the Wolf
chiffon, acrylic paint |
To Lure the Wolf
chiffon, acrylic paint
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Spring Hill
copper pipe, acrylic paint
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| 2002 Selected Studio Work |
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Shekure
silkscreen: lacquer on copper
18" x 18"
edition of 10 |
View of Shekure, private collection.
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In the spring of 2002 I spent a month at the Chinati Foundation as a visiting artist. During my time at Chinati, located in the remote west Texas town of Marfa, I encountered light, space and color as I never had before. Mouth Full of Harmony, a site specific piece, was my ongoing project there. |
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