ARTISTS
Camille Blatrix & Sanya Kantarovsky: Dressing
Taka Ishii Gallery is pleased to present 鈥淒ressing,鈥� a two-person exhibition of works by Camille Blatrix and Sanya Kantarovsky, and the second formal collaboration of the two artists since their initial presentation together at Modern Art in 2021. This arrangement is composed of works that Blatrix and Kantarovsky made over the course of this year.
The finely detailed, wooden surfaces of Blatrix鈥檚 meticulously constructed marquetry and sculptural pieces鈥攚hich include painting techniques, inlays, silver, and acrylic resin鈥攆urther his experimentation in pairing traditional and contemporary technologies of making. The grain of Blatrix鈥檚 wood often serves as the departure point for a scrape or a carving, and as other pieces and scraps join to form a broader image, a geometry then becomes a suggestion鈥攊rregularities in their right place, caught within a frame.
Kantarovsky鈥檚 stoneware vessels, produced over the past several months, extend his recent engagement with the craft towards trials of scale and form, ash glazes, and oxides, at times directly invoking the 20th century British Studio Pottery movement and its radical exchange with the Japanese tradition.
The two artists, interested in the tension between interiority and exteriority, and the corporeal dimension of the handmade object, approach notions of surface-as-skin through the erotics of chemically and physically constructed (and altered) surfaces. The subject matter in the works of both artists, derived from motifs in their previous series, creates rhymes and reverberations through the haptic, formal dimensions of making and looking. Figures are lost in prayer, contorted in discomfort, trapped in their containers or locked in embrace with others. These motifs serve as both armatures and theatrical vehicles in the acts of looking and seeing.
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Taka Ishii Gallery is pleased to present 鈥淒ressing,鈥� a two-person exhibition of works by Camille Blatrix and Sanya Kantarovsky, and the second formal collaboration of the two artists since their initial presentation together at Modern Art in 2021. This arrangement is composed of works that Blatrix and Kantarovsky made over the course of this year.
The finely detailed, wooden surfaces of Blatrix鈥檚 meticulously constructed marquetry and sculptural pieces鈥攚hich include painting techniques, inlays, silver, and acrylic resin鈥攆urther his experimentation in pairing traditional and contemporary technologies of making. The grain of Blatrix鈥檚 wood often serves as the departure point for a scrape or a carving, and as other pieces and scraps join to form a broader image, a geometry then becomes a suggestion鈥攊rregularities in their right place, caught within a frame.
Kantarovsky鈥檚 stoneware vessels, produced over the past several months, extend his recent engagement with the craft towards trials of scale and form, ash glazes, and oxides, at times directly invoking the 20th century British Studio Pottery movement and its radical exchange with the Japanese tradition.
The two artists, interested in the tension between interiority and exteriority, and the corporeal dimension of the handmade object, approach notions of surface-as-skin through the erotics of chemically and physically constructed (and altered) surfaces. The subject matter in the works of both artists, derived from motifs in their previous series, creates rhymes and reverberations through the haptic, formal dimensions of making and looking. Figures are lost in prayer, contorted in discomfort, trapped in their containers or locked in embrace with others. These motifs serve as both armatures and theatrical vehicles in the acts of looking and seeing.
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