Ryo Arita, Nadia Coen, David Hammons, Scott Lawrence, Andrea Neumann, Alexandra Rojas, Walter Sipser, Shinique Smith, Tenesh Webber, Tom Weinrich, Italo Zamboni, Margaret Weber Sometimes extremes can appear subtle: this is a show of twelve artists quietly presenting loud ideas. A Beautiful delirium describes the mood. Verticals rise, memories are retrieved, the lowest ebbs, the highest tides are registered and recorded. Heavy metal played with the volume off. The beautiful gray of New York City at 6 AM. Cement, water, lipstick, dust and sugar may be found in minimal, surreal works that carry the weight of concrete, yet float.

Ryo Arita hangs a chandelier made out of crack pipes cast in transparent frosted sugar. Nadia Coen’s drawings of words and diagrams are typographical formations conforming to the geometry of language and symbols. David Hammons uses dust from the bottom of his shoes to evoke the shape of a past-hung painting. Scott Lawrence’s drawings and sculptures frame a subtle, tragic-comic dialectic of individual autonomy in resistance to abstract systems of control. Andrea Neumann paints with varied grays over a ready-made map of America- a vast empty landscape. Alexandra Rojas having harvested her own hair for a span of ten years, uses the twisting strands, not unlike the double helix of DNA, to “draw” on blocks of cement. For Rojas, hair reveals the strength of self. Walter Sipser uses the Notary Public as a kind of low-rent patent office. These drawings and texts, attempts at legalizing documented points in creation, convey a sense of both deep intimacy and dark humor. Shinique Smith seeks to reinterpret the connections on which we build our personal myths through objects we both cherish and abandon. Smith draws from various sources, graffiti of her youth, abstract expressionism, and Japanese calligraphy. Tenesh Webber’s photogram and projection begin with a sculptural object. In this show, threads were photographed in geometric vertical lines. Her projection is an abstract image resembling dust or paint. Tom Weinrich references naval history to shed light on mechanisms of power. A carved wooden battleship climbs a vertical horizon. Text on an opposite wall reads, “The guns are pointed at the city and the sea.” Italo Zamboni’s floor sculpture consists of concrete legs cast from fishing waders, part of a series called “cement shoes.” Margaret Weber uses the body as a primary reference point to investigate and celebrate intimate communication and the ephemeral. With lipstick, she kisses the ceiling over 100 times.

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