Opening tomorrow – Way To Go in the Flatiron Project Space, curated by Suzanne Joelson, with a reception this Thursday the 27th from 5 to 9 pm

WAY TO GO

Flatiron Project Space
133/141 W 21st Street, ground floor

April 26-May 12
Reception on Thursday, April 27, 5-9 PM

Cassidy Clingman
Morgan King
Caitlin Ladd
Lily Maslanka
Eli Siegel

Curated by Suzanne Joelson

IMG_2906racecak

Sometimes people who work in close proximity will share an idea, an attitude of which they are barely aware. In conversations in the fourth floor Visual & Critical Studies Senior Studios, ways to move emerged as one such theme.

It was first evident in the work of Cassidy Clingman. whose dismantled pool structures may be more about changing perspectives of South Florida than the purpose for which they were intended. Clingman describes it as “An exploration into the remnants of the pursuit of leisure and times of recreation… the reverberation of a diving board after it released its passenger, the feeling of wet pool tiles..”

Then Caitlin Ladd’s affection for envelopes and checkered fabric morphed into racing cars and flags. In their work the speedway is more “way to paint” than “way to go.” Or as Ladd put it, “The racetrack is an arena for action; that action is both racing and painting. I’m interested in how different racing motifs i.e. the checkerboard, flags, bumpers, layout, manifest themselves, and how easily they are translated to be flat and non distinct. My recent works exist between surface and image; I assign each element a role, but those roles are rooted in duplicity.”

Eli Siegel’s work concerns ways to look, to count, to name, to form a picture. The artist describes the paintings as “Things I saw when I wasn’t looking.” The game strategy changes as it becomes apparent. These paintings deflect as much as they engage.

Eli relayed an overheard comment made to Margo Greb about dance in a conversation with Morgan King. Days later Morgan decided to make a video that was just movement. The result is on the monitor. Neither of them recall what impulse went first or how, where it went.

When the show became WAY TO GO, Lily Maslanka’s sideline activity rendering baseball cards became central. They are in Lily’s words, “a testament to the endurance of baseball, and its ability to be there when you need it.” They are the most direct work in the show.

WAY TO GO reflects the various ways we discover and bat around ideas. It is the result of the best aspects of the shared spaces on the 4th floor and some of the seniors who are about to go on.

Visual & Critical Studies