Kim McCarty's early paintings, suggestive of stills taken from moody, enigmatic scenes from film noir movies, were distinctive for their clear reference to the narrative progression of the film reel itself, and its multiple, grid-like succession of images. Suzanne Wright currently lives in Brooklyn and works in New York City. Her work has been seen in The White Room at White Columns and recently has shown in Exit Art and Artist Space.
Kim McCarty: Recent Paintings
Kim McCarty's early paintings, suggestive of stills taken from moody, enigmatic scenes from film noir movies, were distinctive for their clear reference to the narrative progression of the film reel itself, and its multiple, grid-like succession of images. When she made the move from the hard surfaces of those early paintings to the softer, more absorbent surface of paper and from oil to watercolor, she stayed with the grid to assure structural integrity for the ever-growing profusion of images that tumbled out onto the paper. As she gained confidence with the medium, however, she began to permit the grid to literally deconstruct, allowing each segment to find its own dimensions and placement, slipping out into new arrangements of varying shape and density.
Since her primary thematic focus remained the human body, the grid soon began to reformulate in new patterns, suggestive of the skeletal structure or the internal organs-the liver, or the heart. This new approach invited McCarty to slip between the interstices of the individual elements, finding a unique way to explore the hidden physiological depths of being human, and by extension its psychological and emotional depths as well. Confronted with this impressive series of works on paper, the viewer becomes the voyeur of an interior, private landscape of images and obsessions, pain and pleasure, eros and thanatos.
In her most recent paintings, McCarty explores these discoveries in still greater depth and complexity. Barely recognizable here, the grid balloons out into large areas of image or narrative, with generous spaces left as bold passages of silence in between. Changed, too, is the palette- ranging from deep browns to bright oranges and yellows-newly assertive in its boldness. And, adding a rich texture of social and historical reference to McCarty's vocabulary of images, a whole new range of borrowings from art history is introduced, creating a bass-line subtext to reflect and amplify the lyrical melodies of the artist's intensely private musings on the vulnerability of the human experience.
Suzanne Wright: In Sugarland
"We spent the few days that followed cramming our bodies with pleasure."
Jeanette Winterson The Passion Beginning her process with terse, colored pencil drawings, Suzanne Wright forms an anatomy and bone structure, and creates the names of the 600 pound women she depicts in her small, clear, cast resin floor sculptures. While characters like Sunshine and Butterscotch may reappear, every piece differs from the next in attitude, pose and materials. One woman poses seductively in her bed (which appears in related drawings as a giant, dreamy piece of layer cake), another bends over backward in worship of the sun, both with convincing dexterity.
These formal considerations are enhanced by the sumptuous culture jewels imbedded carefully in each abundant example of female form. Whether filled with marble like gum balls, glitter like translucent crystalline sugar, these figures retain both the playfully seductive appetite for rich food and the ultimately allure of pornography, which is the impetus for Wright's original drawings. They are ultimately repulsive and hysterical. Unlike the pop icon, Torso, Arman's 1961 skinny mannequin cast in clear polyester resin and filled with severed hands, Wright allows the viewer to peer through the thick landscape of flesh into the lush, colorful innards of these women. This presents the truth behind their apparent pleasure-- inside the heavy shell is a disco ball's reflective intensity.
Suzanne Wright currently lives in Brooklyn and works in New York City. Her work has been seen in The White Room at White Columns and recently has shown in Exit Art and Artist Space.
Opening Reception: September 9, 2000 6 - 8 p.m.
For more information contact: Richard Stewart 212.967.6007
De Chiara|Stewart, 521 West 26th St., New York City 10001 Gallery hours: Tuesday - Saturday 11:00-6:00 pm