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Suggestion, Belief and Emptiness


Jessica Murray Projects
150 Eleventh Avenue, 212-633-9606
November 18 - December 22, 2005
Reception: Friday, November 18, 6 - 9 PM
Web Site

Featuring: Katrin Böhm, Katy Dove, Dana Frankfort, Jackie Gendel, Ivelisse Jimenez, Ann Pibal, Julie Sass, and Lisa Sigal.

Julie Sass’ multi-panel tower paintings scale the wall, building up precarious formal relationships. Connecting and disconnecting at equal speed, her assemblages question the boundaries of the physical canvas and, in turn, the fallibility of the boundaries we abide by.

Celebrating an unending source of images, situations, and relationships, Kathrin Böhm’s project “and millions and millions” is constructed from mass produced colored paper, hand-printed designs, and found printed matter. This infinitely expanding site-specific installation resists the rarity associated with the “work of art” and instead pivots on the uniqueness of the viewer’s experience and interaction with the work.

In Dana Frankfort’s abstract obscured-text paintings, words such as “Yes” and “It Ain’t Easy” call out to the viewer with urgency and longing for more explanation. The viewer is compelled to decipher her messages, suspended between painted passages of abstraction and text.

Katy Dove’s animations may initially create the expectation of a narrative; however, as her fluttering imagery inundates the viewer, the optical, sonorous effect transports us into an alternate state-of-mind. The viewer is left to consider less conscious relationships to the abstracted images and sound.

Jackie Gendel’s new abstracted portraits are imbued with the emotional aura of the sitter, but deny us specific features.

Lisa Sigal’s sculptural tent paintings play off the necessary relationship between the wall and painting, while conjuring up architectural associations of shelter, protection, home, and mobility.

Ivelisse Jiménez’s assemblages of brightly colored materials - Plexiglas, paper, plastic, tape, and board - exist despite the absence of a canvas or paper foundation. Floating in front of the wall, equally attached and unattached, the artist’s rehierarchicalizations of materials reinvigorates our perceptions and experience of reality.

Ann Pibal continues her series of paintings set on thin, diminutive, aluminum panels. These intimately scaled abstractions draw on an alluring palette of home décor and fashion, suggesting what the artist calls “a perpetually unstable future.” Pibal’s homespun minimalism explores abstraction’s power to summon a generative place between beauty and failure.
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