Brian Morris Gallery | 163 Chrystie Street
Perhaps not to be is to be without your being,
without your going, that cuts noon light
like a blue flower, without your passing
later through fog and stones,
without the torch you lift in your hand
that others may not see as golden
- Excerpt: “Perhaps Not To Be Is To Be Without Your Being,” Pablo Neruda
Brian Morris Gallery is pleased to present “Cuts Noon Light,” a group show featuring work by Andrew Ginzel, Kara Rooney, and Steel Stillman.
Animated by its empty center, the work in "Cuts Noon Light" creates a space through its scale shift between tiny details and the vastness of nothing happening. The universe is expanding, and our understanding of the universe expands with it. This exhibition invites us to reflect on all that is known as well as the unknowable. Infinite sides of a clear duality. Reconstructing memories. Deconstructing the Present. At times, manufacturing history. Question everything.
Combine that small patch of negation with the eroticism of translucent fabric and you have an explosion the size of a small star. Pulses quicken at the possibilities--everything we need is right there if we can just catch the light.
Black becomes object, subject and background. It is inserted into what seems to be a familiar scene or removed entirely. Dark matter outweighs visible matter but can only be detected through gravitational effects. Like galaxies, we should have been torn apart long ago. The glossy blacks, photo mattes, and reflections of mirrors used by the artists in this exhibition explore beyond the measured and quantifiable.
Andrew Ginzel makes exacting collage constructions out of materials such as maps, photographs, mirrors, gold leaf, and bits of ancient text. The progenitor represented is the originator of thoughts and ideas. Mirrors reflect the viewer showing that they are just a twinkle in his or her eye.
Kara Rooney’s sculptures, installations and photographs include fragments of memory imbedded in plaster, isolated atop obsidian platforms. The installation uses these moments of isolation along with thinly veiled scrims to speak to memory's slippery affect, which shift and morph, like stanzas in a poem, in accordance with their surroundings.
Steel Stillman uses moments of removal to insert the viewer into autobiographical photographs. He presents photographs taken throughout his life that have been altered by the desire to obfuscate and hide. By combining the photographs with drawn elements in a digital editing software and then bringing them back to the physical world, he creates a negated hybrid that becomes a public document, teasing us with secrets kept close to the skin.
"Cuts Noon Light" presents three powerful voices that know enough not to shout out loud. Their restraint is deeply penetrating and profound, as though they know innately that the truth does not call for them to scream about it, but instead to listen more intently to the evolving language of their own experience and their connection to each other, to us, and to all things.
Wed - Sat 12:00 PM - 6:00 PM