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Regardless of being so typically deemed a Conceptual artist, Trisha Donnelly is infamous for her disinclination to supply viewers with any hermeneutic parameters for navigating her work. As all the time, there isn’t a press launch or guidelines accessible at this solo present, and the artwork itself is implacably taciturn and unamenable to imposed interpretations. However, it undeniably instructions consideration, and viewers are left to come across it with the recourse of little else apart from their senses.
The exhibition contains 4 marble sculptures (all Untitled, 2023) considerably paying homage to Donnelly’s earlier stone monoliths, though geometrically exact in a fashion much more architectural. The customer’s passage by means of the present is decided each by the format of the gallery and the sequencing of the works. Every object occupies its personal room-size space, and there is just one vantage level, on the very finish of the gallery, from which two are seen without delay. But even from this angle, each sculptures appear to stake an unique declare on the viewer’s gaze.
The primary sculpture is grey and upright, a stout slab with high-quality strains carved into its convex entrance facet and gouged sections elsewhere. The second is analogous, although taller, with extra severely chiseled fissures whose crimson complexion inescapably evokes open wounds. The fourth piece can also be upright, however it’s far thinner and eschews the interaction of technological exactitude and bodily misery in favor of an oaky end. The third and most arresting art work is a protracted, slim kind that lies horizontally on the ground and terminates in a tough nub of unpolished marble. It paradoxically recollects fragments of each sci-fi artillery and classical ruins. On this sense, it typifies the best way during which the entire items are imbued with an indeterminant temporality, as if missives from each the distant previous and the longer term.
— Daniel Neofetou
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