Johanna Arenas. Tracing Paper.
Wade Kavanaugh and Stephen B. Nguyen, both based in Brooklyn, NY have collaborated since 2005. They continue making work together because their collaborative process has given them a platform to articulate the collective processing of what they see and to continually re-question visual foundations such as memory, perception and imagination. The process of questioning at the root of their collaboration has encouraged experimentation and play that might otherwise not exist in their individual artistic practices.
Li Hongbo. Wooden Cube 1, 2012. Paper, 20 x 87 x 20 cm.
Mathilde Roussel. Mues. Paper, glue, 40 x 27 in.
Photos © Matthieu Raffard.
Exhibited at the 56ème Salon de Montrouge 2011, France.
We imperceptibly change everyday as if we were changing skin. The Mues sculptures make visible this metamorphosis through imprints of a body at the specific time. They are clothing of empty skin that we fold and keep to put on a new one. This skin becomes the trace of the time passing and the memory of an anterior life. (Mathilde Roussel)
Mary Burton Durell creates worlds. Genuinely. She uses sheets of translucent paper to create tiny compartments, individual cells that she molds into these vast growths of bulbuous coral – organic structures that seem simple, poetic even despite their complexity. (by Wanderling)
Mia Pearlman’s site specific cut paper installations are ephemeral drawings in both two and three dimensions that blur the line between actual, illusionistic, and imagined space. Sculptural and often glowing with natural or artificial light, these imaginary weather systems appear frozen in an ambiguous moment, bursting through walls and windows, or hovering within a room. (by Amir)