Klaus von Nichtssagend Gallery is pleased to present the second solo exhibition by David Scanavino. An opening reception will be held for the artist on April 17 from 6 to 8 PM.

Scanavino has approached this exhibition through three different formal strategies, all of which allude to a delineation of social and structural associations. From his use of institutional floor tiles to a pulped Financial Times newspaper as material, his work makes oblique reference to to the ways in which we occupy both conventional architectural space and larger social systems. This can be extended into the formal artistic canon as well, as his labor intensive but minimal works indicate an awareness of a hierarchical morphology in both art historical schema and perhaps the structures of the social order.

His first strategy involves tiling the entire gallery in a pattern of conspicuous red-toned vinyl tiles, forcing the viewer to locate themselves within the context of the installation. The floor then extends into three dimensions with the inclusion of a low rectangular form contiguous with the tiles of the floor. This element of the piece is constructed of the same material, its spatial characteristics determined by the dimensions of the tiles themselves.

A three-tiered triangular structure made of ultracal and insulation foam sits on top of the floor piece, rising 9 feet in height. Defining the three corners of the triangles are cast impressions of vertical ropes, with one corner aligned to describe a full 9 foot length. Each successive triangle from the base section is splayed at a wider angle, altering the shape of the triangle into more obtuse angles, while maintaining the same overall volume. This creates the appearance of stepped plateaus, shifting its mass as it towers over the viewer. Each plateau exposes its hollow interior, lined with insulation foam as a remnant of its construction. The exterior walls are ribbed from the texture of the rubber floor mats against which it was cast. Cavities within the shapes allow views through to the red tiled floor, its warm tones reflected further by the pink of the insulation foam.

The third piece is a continuation of a series Scanavino has worked on for three years reconstituting the day’s news into a monochromatic pulp. Whether it be the New York Times, The New York Post or the Financial Times, the color of the pulp is determined by the content of the paper; the day’s news as represented by the inks from the text and photographs of that day’s issue. Here Scanavino has combined a month’s worth of the Financial Times and applied the wet pulp directly to the wall with his hands, retaining finger impressions which reference brushstrokes and monochromatic paintings. The resulting rectangle of pulp on the wall works to place the viewer not just in the spatial environment, but provide temporal context, as well as a connection to the artist’s labor and to the time of its making.

David Scanavino recieved his BFA from the Rhode Island School of Design and his MFA from Yale University. Recent projects include an Emerging Artist’s fellowship from Socrates Sculpture Center, and two person shows at both West Street Gallery and Marianne Boesky Gallery in New York City.