Flat Foldability
Harmony Murphy Gallery is pleased to present its first group exhibition: Flat Foldability, which explores the notion of determining crease pattern potentials from a single vertex that can result in a flat object or, the last point of departure from three dimensions to two. While this mathematical concept is most often applied to origami and other paper folding techniques, this exhibition extends its鈥� conceptual boundaries to include folds, tucks, cuts, and sequences as well as multiple layers of subtext compressed into a single work.
Included in the exhibition is Guy de Cointet鈥檚 His hands trembling so that he could scarcely hold a tool, 1978. This deconstructed pattern examines language on a micro level, dissolving the physical properties to an abstracted redirect. Working with various systems of encoding such as ciphers, codes, and wordplay Cointet created enigmatic graphic systems which read as text yet evade translation. These formally aestheticized marks are sequences in a non-linear narrative which speak more to the viewer鈥檚 desire for a solution than any actual message hidden in their depths.
Chanel Von Habsburg-Lothringen鈥檚 photographed mounds of her grandmother鈥檚 clothing represent the flattening power of photography and its ability to merge three dimensional objects into a single picture plane. These nearly monochromatic arrangements are also an abstraction of the human form, stripping the assumed skin of clothing and compressing together its cultural signifiers along with the personal aesthetic choices it represents. Amna Asghar鈥檚 paintings appropriate images from the popular culture of the Indian sub-continent, enacting various modes of quotation, translation, mis-translation, hybridity and overlap in her juxtapositions. These groupings are inspired by the remixing and sample layering of hip-hop in an attempt to visually describe the complicated realities of the politics of race and culture.
Anna Elise Johnson鈥檚 acrylic sculptures weave together seemingly disparate layers of information into unified resin collages of manipulated images originally sourced from official photographs of meetings between multinational partners such as the World Bank and various heads of State. Honing in on the repetitive compositional structure of such photos and codes of representation embedded within their political pageantry, Johnson abstracts the positive shapes of the meeting鈥檚 participants with the trappings of bourgeois stability and the stale wealth that surrounding them. Rives Granade鈥檚 Acid, 2016 uses the ripple-like folds of cursive text to create a sculpture that is more waveform than writing while Kathryn O鈥橦alloran鈥檚 new sculpture pen/umbra, 2016 flows from her exploration of instruments used to send or receive signals, integrating a weather balloon with a folded automotive sun shade. It鈥檚 rippling folds mimic the abstract visualization of a graph. Joshua Callaghan鈥檚 Three Used Blades, 2015 play with scale, imparting a comical significance to an quotidian studio tool while Door #7, 2014 layers increasingly smaller openings cut within a single door. The Escher-like optical effect created by this repetitive intervention and manipulation of scale creates a fairytale like sensation, the fantasy of depth from a single plane.
Also featured in the exhibition is the debut of a new type of work by Robert Irwin that uses unilluminated fluorescents to create a 鈥榙rawing鈥� as well as sculpture by Joseph Huppert, etched paintings by Anthony Giannini, and a series of drawings and wood sculpture by Thomas Demello.
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Harmony Murphy Gallery is pleased to present its first group exhibition: Flat Foldability, which explores the notion of determining crease pattern potentials from a single vertex that can result in a flat object or, the last point of departure from three dimensions to two. While this mathematical concept is most often applied to origami and other paper folding techniques, this exhibition extends its鈥� conceptual boundaries to include folds, tucks, cuts, and sequences as well as multiple layers of subtext compressed into a single work.
Included in the exhibition is Guy de Cointet鈥檚 His hands trembling so that he could scarcely hold a tool, 1978. This deconstructed pattern examines language on a micro level, dissolving the physical properties to an abstracted redirect. Working with various systems of encoding such as ciphers, codes, and wordplay Cointet created enigmatic graphic systems which read as text yet evade translation. These formally aestheticized marks are sequences in a non-linear narrative which speak more to the viewer鈥檚 desire for a solution than any actual message hidden in their depths.
Chanel Von Habsburg-Lothringen鈥檚 photographed mounds of her grandmother鈥檚 clothing represent the flattening power of photography and its ability to merge three dimensional objects into a single picture plane. These nearly monochromatic arrangements are also an abstraction of the human form, stripping the assumed skin of clothing and compressing together its cultural signifiers along with the personal aesthetic choices it represents. Amna Asghar鈥檚 paintings appropriate images from the popular culture of the Indian sub-continent, enacting various modes of quotation, translation, mis-translation, hybridity and overlap in her juxtapositions. These groupings are inspired by the remixing and sample layering of hip-hop in an attempt to visually describe the complicated realities of the politics of race and culture.
Anna Elise Johnson鈥檚 acrylic sculptures weave together seemingly disparate layers of information into unified resin collages of manipulated images originally sourced from official photographs of meetings between multinational partners such as the World Bank and various heads of State. Honing in on the repetitive compositional structure of such photos and codes of representation embedded within their political pageantry, Johnson abstracts the positive shapes of the meeting鈥檚 participants with the trappings of bourgeois stability and the stale wealth that surrounding them. Rives Granade鈥檚 Acid, 2016 uses the ripple-like folds of cursive text to create a sculpture that is more waveform than writing while Kathryn O鈥橦alloran鈥檚 new sculpture pen/umbra, 2016 flows from her exploration of instruments used to send or receive signals, integrating a weather balloon with a folded automotive sun shade. It鈥檚 rippling folds mimic the abstract visualization of a graph. Joshua Callaghan鈥檚 Three Used Blades, 2015 play with scale, imparting a comical significance to an quotidian studio tool while Door #7, 2014 layers increasingly smaller openings cut within a single door. The Escher-like optical effect created by this repetitive intervention and manipulation of scale creates a fairytale like sensation, the fantasy of depth from a single plane.
Also featured in the exhibition is the debut of a new type of work by Robert Irwin that uses unilluminated fluorescents to create a 鈥榙rawing鈥� as well as sculpture by Joseph Huppert, etched paintings by Anthony Giannini, and a series of drawings and wood sculpture by Thomas Demello.
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