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Marianne Boesky Gallery is happy to announce Half II of its summer time presentation in Aspen, increasing on the gallery’s longstanding engagement with the Colorado city’s vibrant artwork group. That includes new works by the Haas Brothers, Sarah Meyohas, and Celeste Rapone within the non permanent house on East Hyman Avenue, the presentation showcases a collection of formally, materially, and technically creative work from throughout its program.
With a collection of new Bronze Accretions and Microslimers, the Haas Brothers (b. 1984; Austin, TX) proceed their investigation into the slippery divide between artwork and design with their signature humor, whimsy, and originality. Impressed by processes of layered accumulation discovered within the pure world-in issues like coral and tree fungus-the artists produce their Accretions by brushing moist clay onto dry clay in layers, amassing the uniquely textured floor by hand over time. To provide an analogous impact in bronze, the artists have developed an revolutionary course of, loosely primarily based on ceramic coil constructing. To paint the solid bronze sculptures, the artists apply a chemical patina to the floor of the works, creating pure variations in rust to attain the specified colours and results. Impressed by a stone carving of a snail on the Batalha Monastery in Portugal, the Haas Brothers’s new blown glass and marble Microslimers-like lots of the artists’ creatures-offer a deeply private reflection on household. Crafted in riotously colourful blown glass-an completely new materials within the artists’ practice-the Microslimers emerge from ornate solid bronze or carved marble shells. With buggy eyes and emotive expressions-and witty titles-the mollusks are without delay humorous and heartfelt.
In a collection of new works, Chicago-based painter Celeste Rapone (b. 1985; New Jersey) imbues uncannily flattened scenes with autobiographical particulars, artwork historic references, and artifacts of every day life, surrounding feminine topics with detailed depictions of pizza bins and used mayonnaise packets, ripped plastic cups and glasses of purple wine, hair clips and single footwear. Rapone’s figures contort impossibly inside their areas, their limbs pushing towards the body because the artist checks the boundaries between figuration and abstraction. For the Aspen presentation, Rapone has made 4 site-responsive work, drawing motifs from imagined summer time retreats to mountain resorts. In bright-almost garish-summer colours, the artist depicts girls napping in fields of wildflowers, lounging in entrance of magnificent mountain views, attempting to find truffles, and trying to find treasure with steel detectors. Of their pursuit of leisure, Rapone’s figures are pushed to the foreground, threatening to spill out towards the viewer. However there’s a darker undercurrent to those work as well-Rapone’s layers darkish, muted colours over the brightness, implying that every one just isn’t because it seems on the floor.
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