Bureau is pleased to announce a solo show by Justin Matherly featuring new largescale
sculpture and monoprint work. The exhibition will run from October 30 through
December 18 at 127 Henry Street\, be tween Rutgers and Pike streets\, in the Lower East
Justin M atherly has become recognized for his sculptures utilizing the ubiquitousmaterials of concrete and metal ambulatory devices such as walkers and medical
stools. The exhibition will feature new cast concrete statues as well as
sumptuous new monoprints and shows the artist delving\, scu lpturally\, into modern
interpretations of classicism and its decay.A large sculpture based on the much-weathered Pasquino from Rome is the central
work in the show surrounded by smaller pieces based on the th ree existing versions
for the missing right arm of the Vatican’s Laoco ön. As with his interest in the
Belvedere Torso\, his chosen sources a re celebrated examples of the apex of Greek
idealism and a virtuosic d ynamism. However\, without filling the blanks of what these
original f orms depicted\, the modern viewer is left with an intensely mutilated anddegraded form\; in many cases we are left with decapitated\, amputated bodies.
Providing a sturdy support for concrete sculpture\, the walker base also suggests
the inevitable decay of our own bodies\; however M atherly also points to a potential
liberation via the mechanical prost hesis. Invoking a scene from Dziga Vertov’s The
Man with a Movie Camer a when speaking of his own work\, Matherly describes the moment
when t he camera – on its own crutch-like tripod legs – walks into the picture and
has a look around for itself. The potential for the modern subject to embrace its
own viewpoint\, and to find an exalted liberty in its own bondage and limits can be
seen in Matherly’s work.
The sculpture s are methodically built up from sculpted foam postivies which are
the n cast with PVC tree-watering sacks called gator bags and\, more recently\, foam
and rubber negatives for fine detailing. After pouring the concr ete a subtractive
process occurs in a kind of unearthing of the new sc ulpture. While Matherly’s hand
is remarkably skilled\, he shows a desi re to yield to the materiality\, viscosity
and heft of his medium. Sim ilarly\, with his monoprint work there is a building up:
of subject ma tter\, filters\, textures and color-separated coats of printed ink. More
recently Matherly has introduced a subtractive processes into the works on paper
as well: layering motifs of abstract shapes beneath found ima gery from classical
ruins. The ghostly forms of high modernism cast a faint day-glow shadow across vast
photographic scenes of crumbled empi res.
Justin Matherly (b. 1972\, West Islip\, NY) lives and works in Br ooklyn. He received
his BA in 2002 from the Univ. of Pennsylvania whil e studying at the Pennsylvania
Academy of the Fine Arts and received h is MFA from Hunter College in 2007. This
is the artist’s third show at this location\, having exhibited twice with Dispatch
in 2007 and 2009 . He has exhibited widely in New York at the Sculpture Center’s
In Pra ctice Projects\, Bob Nickas’s 2010 White Columns Annual\, Team Gallery\, Pa ula
Cooper Gallery and Gavin Brown’s Enterprise\, New York. He has an upcoming project
with the Public Art Fund for 2012 in Manhattan.

LOCATION:Bureau\,178 Norfolk Street \nNew York\, NY 10002 SUMMARY: Readjusting my commitment to a greater legibility\, or substance t hinking and substance extended\, Justin Matherly END:VEVENT BEGIN:VEVENT DTSTAMP:20161208T104435Z UID:185382 DTSTART:20111030T180000 DTEND:20111030T200000 LOCATION:Bureau\,178 Norfolk Street \nNew York\, NY 10002 SUMMARY: Readjusting my commitment to a greater legibility\, or substance t hinking and substance extended\, Justin Matherly END:VEVENT END:VCALENDAR