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Roxy Paine
Roxy Paine
March 15 – April 26, 1997
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Paint Dipper, 1997
Steel frame, dipping vat, acrylic paint, chair and computer controlled machinery with custom interface and relays
124 x 99x 23 inches
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Painting 17352011997, 1997
acrylic on canvas
45 x 57 x 3 1/4 inches
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Psilocybe cubensis Field, 1997
(detail)
2200 unique hallucinogenic mushrooms
polymer with lacquer and oil paint
4 1/4 x 328 x 5 1/3 inches (complete installation)
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Poison Ivy Field (Toxicodendron radicans), 1977
poison ivy, skunk cabbage, dandelions, grasses
(cast in PETG and vinyl with lacquer and oil paint)
sticks, stones and earth in maple Plexiglas case
41 x 48 x 66 inches
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Model Painting, 1996
polymer, mahogany case
61 x 85 x 5 1/4 inches
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Model for an Abstract Sculpture, 1997
objects cast from blister packaging and custom molds
Durham Rock Hard Water Putty, polymer, steel and auto paint
4 x 96 x 138 inches
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Click here for a PDF version of the following Press Release. |
For Immediate Release: February 21, 1997
ROXY PAINE
March 15 – April 26
Roxy Paine will exhibit five new sculptural works for his second exhibition at the Feldman Gallery. The idea of potentiality, the condition of existing as a possibility, pervades the work which juxtaposes aspects of mass production and spontaneous gesture. The work is presented with ingenious invention, detailed virtuosity, and wit.
Mushroom Field (Psilocybe cubensis) consists of more than 2,000 finely executed hallucinogenic mushroom sculptures placed on the floor.
Poison Ivy Field (Toxicodendron radicans) is a simulated poison ivy patch with dandelions, skunk cabbage, and grass in a glass-enclosed chamber.
Floor Model is a monumental assembly kit of plaster elements cast from assorted molds of blister packs for consumer products. The models suggest a theoretical capability to be transformed into abstract sculptures or paintings.
Model Painting consists of 58 neutral-colored, thick polymer brush strokes in a glass case. The specimen case freezes or preserves that state of suspended possibility.
Paint Dipper is a computerized, ten-foot-tall machine which, repetitively and obsessively, creates paintings. Formed by what is programmed into the computer and the random, patterned elements of the dipping process, each painting is unique – the product of high-tech automation and the forces of the natural world.
The artist’s earlier works, many invented mechanical devices, also make reference to both worlds – the mechanical and the natural – and allude to the processes of sustenance, decay, and regeneration. These include:
Dinner of the Dictators, 1995, a display of freeze-dried versions of the meals of twelve dictators
Placard Flinger, 1995, an apparatus which periodically flings one-worded placards, based on the artist’s psychological analysis, onto the floor
Plug-in Painting, 1995, a pegged wall board with detachable flesh-colored brush strokes
Where I’m At, 1993-95, a photomural of Manhattan with a radio-controlled laser indicating the artist’s movements throughout the course of the day.
Drug Ziggurat, 1994, a nine-foot-tall tower consisting of addictive products
Displaced Sink, 1993, a dripping sink mounted on the ceiling causing the dissolution of a stack of soap
Lusts, 1992, a structure in which a light bulb and carafe are alternately plunged, energetically and repetitively, into a vat of black or white liquid
There will be a reception for the artist on Saturday, March 15 from 6:00 – 8:00 p.m. Gallery hours are Tuesday – Saturday, 10:00 – 6:00. Monday by appointment
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