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Inside, Outside - Outside, In

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20120408231347-ganz_untitled-alt
Untitled, 2012 Hand Cut C Prints on Archival Ink Jet Print 55" X 44" © Courtesy of the artist & Lesley Heller Workspace
Inside, Outside - Outside, In

54 Orchard St
New York, NY 10002
April 22nd, 2012 - May 25th, 2012
Opening: April 22nd, 2012 6:00 PM - 8:00 PM

QUICK FACTS
WEBSITE:  
http://www.lesleyheller.com
NEIGHBORHOOD:  
east village/lower east side
PHONE:  
212-410-6120
OPEN HOURS:  
Wed-Sat 11-6; Sun 12-6
TAGS:  
photography

DESCRIPTION

Inside, Outside - Outside, In highlights the work of four artists Dawn Clements, Theresa Ganz,
Björn Meyer-Ebrecht, and Fran Siegel, who are informed by the space and structure found in architecture and nature. Through an organic process of cutting, pasting, drawing and taping each artist takes the visible and transforms it into a psychological representation of space.
Taken from an aerial perspective, Fran Siegel’s drawings investigate the complexity of urban landscapes and structures. Using cross hatching done with pen and graphite, combined with washes of ink, the work has a map like quality. Abstract spaces and shapes are formed by a process of cutting and pasting, and through collage, forms overlap and reclaim space.
Familiar patterns in nature are amalgamated with shapes found in architecture in the work of Theresa Ganz. New structures are created by cutting up photographs of the natural environment which are then layered and assembled into low sculptural reliefs. Each form becomes an invitation: a tree branch becomes an arch, a wreath of leaves becomes a portal. “My work becomes an expression of cognitive dissonance-it comes from a desire for, and a wariness of, a dark, magical forest.”
Björn Meyer Ebrecht views his work as a documentation of social and historical change. “I am especially intrigued by the absence of history, a form of collective amnesia, which reverberates in these images.” Based on imagery of postwar buildings, his interior and exterior views examine the relationship between architectural structure and the natural environment. Drawing and taping are essential to his process.
Dawn Clements’ sumi-ink and ball point pen drawings are glimpses into her personal interiors, and more intimately, into her mind. At times, she may cut and edit the work, adding paper necessary to achieve a certain scale. The drawings are her journals of what she “sees, touches and desires.”
Whether in the environs of Los Angeles, an apartment in New York City, Post-War Germany, or a walk in the woods, each work has a quality that is familiar to us, yet we are left questioning our sense of place.