Through site-responsive installations and works on paper, I expand on the language of drawing in sculptural space. In the installations, I deploy a variety of synthetic materials to invade, interpret and confound the architectural parameters of a given space. The works in my “Polyglot” drawing series breed internal formal and conceptual contradictions: cohesion and fragmentation, balance and vertigo, minuet and jitterbug. Areas of visual commotion impinge on the paper’s edge and transpose my investigations into folded, punctured, smudged and layered zones of geometric and expressionistic gestures. In the “Polyglot Y” series, I incorporate digital images of installation details, thus cannibalizing and reformulating my concerns from one medium to another. My great interest in film, particularly the shadowy, urban territory of film noir, informs the work.

My aim is to construct a noirish interior landscape of perceptual incident and psychological dis-ease; my hope is that the conflation of disparate parts—mark, shadow, geometry, gesture, concord, dissonance, method, madness—results in some sort of riotous whole.

 

Gelah Penn, April 2015

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