The Flatiron Project Space is pleased to present “C, D, E, No F, G” a group show of work by emerging artists Michael Caudo, Luiz D’Orey, Justin Elm and Kayla Gibbons. The exhibition opens on September 3rd, through the 21st, with a reception for the artists on Thursday, September 8th, 6–8PM. The gallery is located on the ground floor of 133/141 West 21st Street.
The exhibiting artists, all graduates of various departments of the School of Visual Arts, exemplify an uncompromising commitment to analytical thinking in their art-making practice and an innate connection to their medium of choice. The title of the exhibition refers to both the participants names and NYC subway lines – a subtle commentary on how young artists are now all forced to be commuters. More profoundly, the “No F” plays on ideas of grades, of passing and failing (real or imagined) and the struggles and rewards of the art world, issues all emerging artists face in one way or another.
The artists have provided the following comments about their work:
I make pictures that deal in both the immediate optical experience and the associate connections that images and paintings can have today. The works are made with a deliberate if not stubborn attention to the physicality of the surface and the perplexing specificity of each image. Each work however is dependent on how it is installed and the often-dissonant relationships that arise between pictures. While I do not believe the work addresses any issues directly, my hope is to build a context in which a viewer can focus on the act of looking and with that an allowance of the baggage and misunderstandings that inevitably follows.
– Michael Caudo (BFA Fine Arts, 2014)
My most recent body of work investigates pre-existent urban objects, their environment and architectural construction rituals. During one of the biggest building booms in New York City’s history, I started collecting posters from the walls that surround each of the many construction sites in Manhattan. The posters are taken to the studio, where their ink jet printed images replace the use of paint in depictions of the buildings in progress. The multi layered process involves cutting, pasting, ripping and sanding the collected material. I also expose the image to a different context by reproducing the collage paintings in a poster format and pasting them back on the construction walls… the intricate contrasts explored by this practice result in images that have the objective of both informing and relating to human behavior in contemporary urban spaces.
– Luiz D’Orey (BFA Illustration, 2016)
My work strives to think, with the viewer, about our contemporary situation by attempting to imitate our increasingly irrational reality.
– Justin Elm (BFA Visual and Critical Studies, 2011/MA SVA, 2015)
Driven by the necessity to recount the otherwise irretrievable, my work attempts to unravel the web of memory to discover the ways that crude material can be transformed into invented form. The junkyard is utilized as a site for material recuperation where my body is the mechanism to re-enliven the closed existence of discarded parts. The possibility of an analogous corporeal reality is created as the body is suspended and held, lowered and impressed into wet stone. The presence of the body exists only as its trace, drawing the form of presence out of absence. Ancient masonry walls, asphalt, and hand- lettered signs are read as receptor surfaces upon which information has been impressed: documents that tabulate information. The work is a process of translation for mortar hieroglyphs where architecture has been demolished and erased, for information skewed between peeling layers of paint, palimpsests, maps, a printer’s canceled plates. Whether imbued with the rust of time or recuperated and restored, mortal plaster is held by the permanence of steel.
– Kayla Gibbons (BFA Fine Arts, 2011/MFA Yale University, 2013)
This exhibition is curated by Peter Hristoff.