Miriam Kley
dal 2/3/2004 al 27/3/2004
Segnalato da
2/3/2004
Miriam Kley
Amos Eno Gallery, New York
In Kley's new work 'View from my Kitchen Window' the landscape outside literally bursts into the kitchen inside. This is because the landscape is in bas-relief (three dimensional), and the kitchen is a low-key pencil drawing on a wide frame. Near and far are reversed – the outside is much more palpable than the inside even though the inside is nearer to us. This piece is about the beauty and sensuality of nature contrasted to the kitchen – a man-made environment.
Bas Relief
In Kley's new work 'View from my Kitchen Window' the landscape outside literally bursts into the kitchen inside. This is because the landscape is in bas-relief (three dimensional), and the kitchen is a low-key pencil drawing on a wide frame. Near and far are reversed – the outside is much more palpable than the inside even though the inside is nearer to us. This piece is about the beauty and sensuality of nature contrasted to the kitchen – a man-made environment. This work is one of the sculptural reliefs set in large flat frames on which the artist has drawn or painted part of the image. Sometimes it is an extension of the relief, sometimes a counterpoint to it, always important to the expression of the work.
In 'Robin' the drawing on the frame is warm and alive, a contrast to the sculpture, which has the character of a classic Greek head.
The cast paper pieces and the hydrocal pieces are about the interplay and meaning of drawing (2D) and relief (3D). However, in these the drawing is on the work rather than surrounding it. 'Jerry' is a cast paper piece in which Kley first drew the image in clay then modeled the head, foot and wheelchair arm rests to emphasize Jerry's struggle. There is a sensitive interplay between the (3D) wheelchair armrests and the (2D) drawn arms.
All of the reliefs, except those in paper, are cast in hydrocal and colored with pigment or acrylic paint. Kley has developed her own formula for the paper castings, which because of their size, are particularly difficult to make. The artist always models in clay before casting, feeling it allows her the greatest plasticity and subtlety of surface.
In addition to Kley's fine art, she is also an award winning sculptural illustrator having worked for companies including RCA, CBS, NY Times, Random House, Playboy and Fortune. Originally from New York, she has been teaching in the art department of the University of Oregon since 1990. She now lives and works in Eugene, Oregon where she has her studio and is represented by the Karin Clarke Gallery. The artist is in numerous private collections and has exhibited widely both in the U.S. and abroad.
Reception: March 3, 3-6 PM
Contact: Deborah de Bruin, Director
212.226.5342
Amos Eno Gallery
530 West 25th Street, 6th Floor
New York, NY 10001