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  Laura Sharp Wilson
January 8 - February 12, 2017
 

In her fifth solo exhibition with the gallery, Laura Sharp Wilson continues her engagement with densely-composed paintings using acrylic and graphite on mulberry paper mounted on wood.† In these new works, Wilson employs a stronger palette and less naturalistic color than previously.† She creates idiosyncratic environments by combining abstract, textile-like patterned elements with realist references such as architectural structures, strands of beads, prayer flags and botanical forms.† Throughout her compositions, tendrils, stalks and husks suggest the aggressive growth of unfamiliar flora.† At moments the flora appear vaguely sinister, their source unrevealed.† For example, in the painting Sew, jagged black stalks can be read both as husk-like forms and as razor wire.† Naturalistic elements combine with ropes, chains and cords that twist, coil, drape and wind their way through the compositions, interlinking and intertwining the various forms.† In several instances discreet shapes are bound, wrapped, tied and corseted; Wilson has long referenced the work of outsider artist Judith Scott in her paintings.† In this work she also cites the influence of Sam Gilliam, with whom she studied, the stain paintings of Helen Frankenthaler, the blown-up, playful patterns of Lee Krasner, and the persistence of Jay DeFeo.
 
Wilsonís new paintings also suggest a temporal component through the use of abrupt scale shifts and translucent veils of color. Instead of a single environment, the shifts in scale suggest multiple overlapping spaces and create a greater sense of depth in the work.† At the same time, her use of translucent veils obscures, screens and filters the forms, suggesting other moments in time.† Additionally, weighty elements, such as the oversized metal chains in Fence and Fake Fire, are transformed into ghostly, dematerialized traces. For the artist, these works are her attempt to seek clarity in the confusion of modern day life and a metaphor for the push and pull of human relationships, where less and less common ground is found.
 
 
 
Sew, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
32 x 24 inches

Palampore, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
32 x 24 inches

Blocked Path, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
32 x 24 inches
 
Barrier, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
35 x 25 inches

Darker, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
27 x 24 inches

Push Pull, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
32 x 24 inches
 
Burrow, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
23 x 22 inches
 

Bugs and Barely Decipherable Dots, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
19 1/2 x 18 1/4 inches

Desire Lines, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
20 x 18 1/4 inches
 
 
Eleven Veils, 2016
Acrylic and graphite
on mulberry paper
mounted on alu-dibond
22 x 17 1/4 inches

Summon the Ghosts, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
13 x 12 1/2 inches

Fence and Fake Fire, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
16 1/2 x 14 1/4 inches
 
I Know You Know, 2016
Acrylic and graphite
on printed paper
mounted on wood panel
10 x 7 inches

Veil Cascade, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
12 x 9 inches

Spy, 2016
Acrylic and graphite
on mulberry paper
mounted on wood panel
10 x 8 inches
 
Installation view

Installation view

Installation view
 
Installation view

Installation view

Installation view
 
Installation view

Installation view

Installation view
 
Installation view

Installation view
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55 Orchard Street, New York, New York 10002 212 989 5467 fax 212 989 5642
email info@mckenziefineart.com