ARTISTS
Sarah Peters and Modou Dieng
Parts & Labor Beacon is pleased to present Sarah Peters and Modou Dieng, an exhibition of new works pairing bronze sculpture and glazed ceramic wall reliefs by Sarah Peters (b.1973, Boston, MA) with paintings and photography-based works by Modou Dieng (b.1970, Saint-Louis, Senegal).
Employing disparate mediums through figurative and symbolic vernaculars, and historical tropes, Dieng and Peters mutually challenge the structures of power that hold society together. Both artists capture and reshape the standards of the past to ultimately reclaim their futures.
Sarah Peters鈥� sculpture dispenses pointed insights into the structures of power in the past, present, and future. Peters鈥� newest work, glazed ceramic wall reliefs depicting human forms and faces, draws inspiration from a variety of sources, combining symbols and disciplines from classical, abstract, and sci-fi worlds. Her art is built through multidisciplinary research which she then uses to question the sources and veracity of editorialized historical information and the societal values that result.
While at the Pennsylvania Academy of the Fine Arts in the mid-1990s, Peters was first exposed to the work of William Rush, an early European-American sculptor, a well-meaning neo-classicist whose finished works suffered from unintended eccentricity in regard to their proportionality. To Peters, this odd beauty was the quintessence of American art. While she gives nods to classic style, the contorted faces and forms are uniquely her own. Unlike Rush, Peters intentionally warps the people within her art and as a result sheds light into the grosser truths and unreliable teachings of human society.
Parts & Labor Beacon is pleased to present Sarah Peters and Modou Dieng, an exhibition of new works pairing bronze sculpture and glazed ceramic wall reliefs by Sarah Peters (b.1973, Boston, MA) with paintings and photography-based works by Modou Dieng (b.1970, Saint-Louis, Senegal).
Employing disparate mediums through figurative and symbolic vernaculars, and historical tropes, Dieng and Peters mutually challenge the structures of power that hold society together. Both artists capture and reshape the standards of the past to ultimately reclaim their futures.
Sarah Peters鈥� sculpture dispenses pointed insights into the structures of power in the past, present, and future. Peters鈥� newest work, glazed ceramic wall reliefs depicting human forms and faces, draws inspiration from a variety of sources, combining symbols and disciplines from classical, abstract, and sci-fi worlds. Her art is built through multidisciplinary research which she then uses to question the sources and veracity of editorialized historical information and the societal values that result.
While at the Pennsylvania Academy of the Fine Arts in the mid-1990s, Peters was first exposed to the work of William Rush, an early European-American sculptor, a well-meaning neo-classicist whose finished works suffered from unintended eccentricity in regard to their proportionality. To Peters, this odd beauty was the quintessence of American art. While she gives nods to classic style, the contorted faces and forms are uniquely her own. Unlike Rush, Peters intentionally warps the people within her art and as a result sheds light into the grosser truths and unreliable teachings of human society.
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