ARTISTS
naked city
Silke Lindner is pleased to announce naked city, a group exhibition featuring works by Greg Carideo, Magus Maxine and Jay Payton. The title of the exhibition derives from a 'psychogeographic' map of Paris created in 1957 by Guy Debord and Asger Jorn, members of the revolutionary alliance Situationist International (SI). Disrupting existing representations of urban structures, they conceived the city as a fragmented series of situations guided by subjective impulses and movements. In this exhibition, the works integrate fragments of the city through their use of materials, ideas and social undercurrents that create subjective topographies of our urban environment.
Magnus Maxine uses full page threads of The New York Times and other newspapers to create the substrates for her paper pulp paintings. Painted atop the irregular surface, grids and patterns swallow the weight of the daily news. In compositions that are both loose and precise, Maxine acknowledges the passage of time in its materiality and the time-stamped events of our daily life. Halting the newspapers' natural course of disposability, her paintings expose the strands and grains of the everyday and lend a meditative rest for the eye.
Greg Carideo shows two new wall-mounted sculptures reminiscent of awnings commonly seen across the city. Each piece encases a rubber shoe heel found on the streets of New York, and tailored textile collages made out of t-shirts, stretched like covers over the meticulously handmade steel armatures. Collecting materials and inspiration throughout New York, his sculptures capture the narratives of individuals navigating the city's streets. Like intimately scaled sacral architecture, his sculptures resemble shrines that honor the city and its fleeting presence of strangers.
In large abstract paintings, Jay Payton constructs dense compositions that merge bold colors with loose splatter, stains and lines. Integrating materials like crinkled layers of plastic, paper and sheets of aluminum beneath thick layers of paint, his paintings create a heavily textured surface. Almost cosmic, the metallic aluminum gleams through an organic buildup of gestural marks, colliding and complementing one another. A satirical nod to old ideas of utopian futures, the sheets of aluminum shimmer through a gritty, vibrant surface that channels the dynamics of the city as it is today.
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Silke Lindner is pleased to announce naked city, a group exhibition featuring works by Greg Carideo, Magus Maxine and Jay Payton. The title of the exhibition derives from a 'psychogeographic' map of Paris created in 1957 by Guy Debord and Asger Jorn, members of the revolutionary alliance Situationist International (SI). Disrupting existing representations of urban structures, they conceived the city as a fragmented series of situations guided by subjective impulses and movements. In this exhibition, the works integrate fragments of the city through their use of materials, ideas and social undercurrents that create subjective topographies of our urban environment.
Magnus Maxine uses full page threads of The New York Times and other newspapers to create the substrates for her paper pulp paintings. Painted atop the irregular surface, grids and patterns swallow the weight of the daily news. In compositions that are both loose and precise, Maxine acknowledges the passage of time in its materiality and the time-stamped events of our daily life. Halting the newspapers' natural course of disposability, her paintings expose the strands and grains of the everyday and lend a meditative rest for the eye.
Greg Carideo shows two new wall-mounted sculptures reminiscent of awnings commonly seen across the city. Each piece encases a rubber shoe heel found on the streets of New York, and tailored textile collages made out of t-shirts, stretched like covers over the meticulously handmade steel armatures. Collecting materials and inspiration throughout New York, his sculptures capture the narratives of individuals navigating the city's streets. Like intimately scaled sacral architecture, his sculptures resemble shrines that honor the city and its fleeting presence of strangers.
In large abstract paintings, Jay Payton constructs dense compositions that merge bold colors with loose splatter, stains and lines. Integrating materials like crinkled layers of plastic, paper and sheets of aluminum beneath thick layers of paint, his paintings create a heavily textured surface. Almost cosmic, the metallic aluminum gleams through an organic buildup of gestural marks, colliding and complementing one another. A satirical nod to old ideas of utopian futures, the sheets of aluminum shimmer through a gritty, vibrant surface that channels the dynamics of the city as it is today.
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