Painting With Stone: Sam Moyer at Sean Kelly Gallery
The Sam Moyer exhibition, Tone, presented paintings that incorporate large pieces of marble and a room of precariously balanced sculptures.
Sam Moyer’s exceptional exhibition ?Tone? just wrapped up at Sean Kelly Gallery in New York on April 24th. Presenting paintings that incorporate large pieces of marble and a room of precariously balanced sculptures, it?s a poetic, strong, fragile, and ethereal exhibition worth visiting in person. The exhibition ran concurrently with Moyer?s large outdoor installation ?Doors for Doris? at Doris C. Freedman Plaza at the southeast entrance of Central Park.
Sam?s paintings are literal meetings of marble and canvas. While the primary composition is often created from broken marble remnants or other cut stone, the surrounding color field is a puzzle-piece of canvas. The hand-made sections do more than fill the gaps of the stone, they also impose the rectangle of a “traditional painting” that is often skewed or broken by the outcroppings of the solid rock. Sam Moyer, Little Pitcher, 2020
Sam Moyer, Borrowed Cup, 2021
Installation view of Sam Moyer:Â Tone at Sean Kelly, New York
The two materials also play between the architectural function of the marble (notice the scars of the marble?s previous life as a table, countertop or cut-off remnant) and the pure aesthetics of abstract painting. Moyer?s incredible gift is creating both the complex problem and satisfying solution, with an invitation to every viewer to imagine...
Sam Moyer’s exceptional exhibition ?Tone? just wrapped up at Sean Kelly Gallery in New York on April 24th. Presenting paintings that incorporate large pieces of marble and a room of precariously balanced sculptures, it?s a poetic, strong, fragile, and ethereal exhibition worth visiting in person. The exhibition ran concurrently with Moyer?s large outdoor installation ?Doors for Doris? at Doris C. Freedman Plaza at the southeast entrance of Central Park.
Sam?s paintings are literal meetings of marble and canvas. While the primary composition is often created from broken marble remnants or other cut stone, the surrounding color field is a puzzle-piece of canvas. The hand-made sections do more than fill the gaps of the stone, they also impose the rectangle of a “traditional painting” that is often skewed or broken by the outcroppings of the solid rock. Sam Moyer, Little Pitcher, 2020
Sam Moyer, Borrowed Cup, 2021
Installation view of Sam Moyer:Â Tone at Sean Kelly, New York
The two materials also play between the architectural function of the marble (notice the scars of the marble?s previous life as a table, countertop or cut-off remnant) and the pure aesthetics of abstract painting. Moyer?s incredible gift is creating both the complex problem and satisfying solution, with an invitation to every viewer to imagine...
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