The artist’s attraction to the hubcap is linked to her interest in the extremes of ornamentation. Alloys and hubcaps are decorative elements, serving a definite though minimal function in protecting the wheels from debris. The better and more luxuriously designed they are, paradoxically, the less one notices. They are only generally customised to an extreme degree by car fanatics. The snake is a hidden threat, always looming in dark spaces, for example, behind a bush, next to a well, under a car. The depths slither out in long form and land, in all its oily glory, over the smooth metal surface of the hubcap. Wildly spinning with every ride, adding a flash of something elemental and non-mechanical, though extremely efficient and dangerous. A disturbance that turns into aesthetic chance.
Katz’s work often features recurring images and layered motifs such as monkeys, profiles, heads of lettuce and black pears, which collapse distinctions between foreground and background, freely switching guises between subject and pattern, original and copy. Autobiography forms the basis of her choices. That which is felt, heard and seen is not fragmentary and separate; it belongs together as “painting” (which also includes ceramics, murals, sculpture, graphics and essays.) Painting as that which can produce a hold or effect on a body in the moment. She considers how a work of art can be incoming meanwhile exiting both itself and a space, how a voice can be thrown or transcribed, and the conceptual and material distinction between announcement, rehearsal and main act.
Allison Katz (b.1980, Montreal, Canada) lives and works in London, UK. She graduated with an MFA from Columbia University, New York in 2008. Her first solo exhibition at a public institution opens at Kunstverein Freiburg, Germany, September 2015, and she will also present a solo exhibition in early 2016 with Gió Marconi, Milan. Recent solo exhibitions include; Rumours, Echoes, BFA Boatos, São Paulo (2014) and Adele, Piper Keys, London (2014). Selected group exhibitions in 2015 include No Joke, Tanya Leighton, Berlin (2015); Call and Response, Gavin Brown’s enterprise, New York (2015); ###i
Racer (2015)To enquire please contact firstname.lastname@example.org
40.64 x 25 cm
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