Daniel Faria Gallery is proud to participate in
with a presentation of work by
November 6 – 8, 2015
Hall: Lilac, Stand: 5
Via Nizza 294
Berlin-based artist Shannon Bool’s MEC V extends Bool’s interest in ornamentation and handwork and its place in the contemporary. Bool has been working with wool carpets since 2010, exhibiting a large-scale carpet in the exhibition, Soft Pictures (2013) at the Fondazione Sandretto Re Rebaugengo in Turin, Italy. This new work is a reference to classic Northern Renaissance paintings by Jan van Eyck and Petrus Christus. The figures depicted in the painting have been digitally removed from the carpet, leaving only the negative space surrounding them. Rather than replacing them, Bool marks the absent bodies by what is now, in our contemporary digital culture, a checkered Photoshop transparency grid. Fabricated in conjunction with Anatolian weavers, the carpet speaks to handmade craftsmanship, contemporary digital applications, and addresses ongoing conversations between East and West.
Canadian artist Chris Curreri’s recent work focuses on the locus of the artist studio. Curreri thinks of the studio as a reminder for how one should consider the gallery space – as a place where artwork still has the potential to shift and change. Curreri’s new body of work brings the space of the museum conservator’s workshop into the public setting here at Artissima. This new work explores the notion of the museum as caretaker, while thrusting Old Master sculptures into the contemporary.
In the spring of 2014, Curreri was taken on a tour of the conservation department at the Art Gallery of Ontario, where he first encountered the Saint Sebastian ivory carved by Jacobus Agnesius, on loan from the collection of Canadian David Thomson. Found lying on its side in a plastic cart, its body resting on cushions of foam and fabric heightens the object’s vulnerability, more so than its placement in the public gallery space. The object continues to depict pain even in a place of non-display, and develops a transformative effect on its surroundings. Curreri sees the conservation room as a restorative space, much like the operating room of a hospital; within this context, the grey plastic cart becomes a gurney. Curreri continues to work from the Art Gallery of Ontario’s permanent collection, photographing works—such as the Bernini Corpus – while they were being prepared for display.
Vancouver-based artist Elizabeth Zvonar’s work, History of Art, is a series of porcelain sculptures made from slip cast replicas of an index finger. Borrowing from images of H. W. Jansen’s ubiquitous textbook of the same name, Zvonar focuses on the power of the index finger throughout the history of art. The pointing of the index finger was used as a visual code, often indicating the presence of something unseen in a painting, or to direct audiences’ attention to God. Based on iconic compositions, Zvonar has arranged a grouping of index fingers into an abstract composition referencing famous historical works of art such as Raft of the Medusa (After Géricault), or The Dance (After Matisse). The fingers in Zvonar’s sculptures are ornamentalized by the use of glazed porcelain, accented by gold, silver, and opalescence – bringing the work into a feminine decorative space, juxtaposing art historical references that were created by male artists.