Kidd Yellin is pleased to present Domestic City: Methodology and Intuition, a group show organized by Nichole van Beek and Vince Contarino.

The generation of architecture indicates a creative, yet logical working process that leads to a functional structure. The development of an interior space into a home, however, is a messier, more haphazard accumulation of intuitive decisions. Each work chosen for Domestic City reflects a point on the continuum between architecture and domestic interior. Some clearly fall on either end of the spectrum and other work collapses the apparent dichotomy.

In Nils Folke Anderson’s construction titled Six Empties, steel beams delineate the edges of a multi-dimensional architectural space. As the viewer circles the piece, the open structure transforms into a layered mass of geometric solids and back again; corners and planes shift into focus and then are lost in a tangle of lines that erodes assumptions about the cleanliness of geometric abstraction.

In the same way, the choice of color in Gary Peterson’s paintings breaks down expectations of a rigid, analytical methodology in hard-edged painting. Although the two Peterson paintings in the show, Smashed and Together, are similar, a quick comparison reveals idiosyncratic differences arrived at through a personal, intuitive logic.

Through this intuitive process Gina Beavers builds lush, decorative structures in her prints. In Untitled Jewelry, black, lace-like forms roll over the paper in layers, creating a loose, asymmetrical pattern. Glamorously gaudy painted gems hang in the center of the composition. This piece celebrates Rococo-like ornamentation that can often be found in jewelry, clothing and home decorations.

Each of the 21 artists in Domestic City contributes a unique voice to the discussion of architecture and domestic interiors, complementing each other through a plurality of working methods. Gavin Anderson’s painting references private space and sexuality; Inna Babaeva’s piece colonizes living space with Target-red balls on wheels; Erik Benson’s painting speaks about failed utopia; Joseph Burwell’s drawing calls up actual and imagined architectural histories; Rob Carter’s photograph and animation describe a world inhabited solely by flora; Chris Gentile’s photograph blurs the line between utilitarian construction and home decoration; Everest Hall’s painting is a constructed ruse with a pink flare; An Hoang’s paintings are a combination of experienced and psychological space; Todd Knopke’s quilt depicts an after-party crash; Lauren Luloff’s painting on bed sheets twists and turns away from the static frame; Kora Manheimer’s photos of garage sales offer a meta-experience of picking through images of people picking through things; Esperanza Mayobre’s laser cut drawing indicates the insecure fate of the future; Gabriela Alva Cal y Mayor’s sculpture fabricates an abandoned construction; Alisa Ochoa’s ceramic bones present a surreal homage to a Flintsone-esque past; Yadir Quintana’s silver floor piece records the presence of a domestic partner; Miyoung Sohn’s tin egg draws a connection between food and procreation; William Stone’s clock reminds us of the inability to capture time; and Justin Valdes’s drawings ask the viewer to negotiate a relationship to memory and everyday objects.