Ranee Henderson
Rubber Factory is pleased to present Ranee Henderson鈥檚 first solo exhibition in New York.
Peanuts sometimes live in huge wooden barrels. Any chunk or hunk from the mass of heaped helpings can be grabbed up, popped in, and spit out. It鈥檚 okay that they are treated this way. They are root nuts. Peanuts are also nicknamed goobers and goob backwards is boog and booger masked figures loom in Ranee鈥檚 paintings as her Cherokee ancestors melodramatically profess a constant state of vigilance. The 鈥淓Z鈥� titled sculptures in the show bow in overactive reverence to the the three Vs of vigil, vigilance and vigilante.
The grouping of paintings and sculptures holler hell at the 鈥渢hems鈥� that Ranee defies. Sketches echo throughout her paintings with marks she made while blindfolded and wearing earplugs. The sensory depravation stripping away at academic modes of looking and leading to marks with the immediacy of the artist鈥檚 body. In the painting, 鈥淚t doesn鈥檛 matter; I鈥檓 not easily set off track (grind)鈥� a tethered figure hangs limply while quarters swarm in attack formation. The right arm of the figure is also poised to strike as it is metamorphosed into a coiled snake.
Ranee鈥檚 process is governed by an emphasis on focus and feeling. Muted monochromatic palettes rupture to reveal details such as doorstoppers which butt up against plump toes extending from a trio of cock-blocking feet. These charged trinkets produce discomfiting associations with the complexities of our normative states. Phallic pundits made from millipedes either flop flaccidly or stand erect, garnishing the edges of these mental holes.
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Rubber Factory is pleased to present Ranee Henderson鈥檚 first solo exhibition in New York.
Peanuts sometimes live in huge wooden barrels. Any chunk or hunk from the mass of heaped helpings can be grabbed up, popped in, and spit out. It鈥檚 okay that they are treated this way. They are root nuts. Peanuts are also nicknamed goobers and goob backwards is boog and booger masked figures loom in Ranee鈥檚 paintings as her Cherokee ancestors melodramatically profess a constant state of vigilance. The 鈥淓Z鈥� titled sculptures in the show bow in overactive reverence to the the three Vs of vigil, vigilance and vigilante.
The grouping of paintings and sculptures holler hell at the 鈥渢hems鈥� that Ranee defies. Sketches echo throughout her paintings with marks she made while blindfolded and wearing earplugs. The sensory depravation stripping away at academic modes of looking and leading to marks with the immediacy of the artist鈥檚 body. In the painting, 鈥淚t doesn鈥檛 matter; I鈥檓 not easily set off track (grind)鈥� a tethered figure hangs limply while quarters swarm in attack formation. The right arm of the figure is also poised to strike as it is metamorphosed into a coiled snake.
Ranee鈥檚 process is governed by an emphasis on focus and feeling. Muted monochromatic palettes rupture to reveal details such as doorstoppers which butt up against plump toes extending from a trio of cock-blocking feet. These charged trinkets produce discomfiting associations with the complexities of our normative states. Phallic pundits made from millipedes either flop flaccidly or stand erect, garnishing the edges of these mental holes.
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