Keeping Things Whole: Sculpture
Zane Bennett Gallery is proud to announce “Keeping Things Whole: Sculpture,” an exhibition by Guy Dill, Aurelius Aurelius and Rachel Stevens. The opening is March 27th at the gallery, 435 South Guadalupe Street, across from the rail station, from 5:00 ‐ 7:00 pm to coincide with the Railyard Arts District Last Friday Art Walk.
In a field
I am the absence
always the case.
Wherever I am
I am what is missing.
Keeping Things Whole: Sculpture is an exhibition dedicated to three sculptors represented at Zane Bennett Contemporary Art: Guy Dill, Aurelius Aurelius and Rachel Stevens. The works are tied together by their unique approaches to form, mass and perhaps most importantly, through their use of negative space. These three dimensional works remind us of the effects of openness on material, the contribution of space / place to a work of art and question the separation between object and the space where an object is held. The exhibition’s tappropriated from Mark Strand’s pivotal poem of the same name.
Guy Dill offers unique sculptures that impress with both their intensity of scale and their unmistakable lightness. Despite their often times monumental scale and sheer mass, Dill’s work feels nearly the same weight as the empty space around them. They are perpetually locked in a weightless flight.
The clean economy of material works in tandem with the negative space left between structures. They whirl, spring and are thoroughly engaged with a dance between their own unique form and the unique space which they are held.
Dill was born in 1946 and received his education at Chouinard Institute of Art, Los Angeles, California in 1970. Dill currently works in Venice, California and Brussels, Belgium. Dill is recognized internationally as a contemporary master of large‐scale, abstract sculptural work. His works directly engage with the tension of structure and space and as a result speak to the beauty of movement; to movement as the ultimate subject of sculpture. He has five permanent, public installations in L.A. that opened to the public in 2014.
Seemingly on the reverse of Dill’s expert economy and lightness, Aurelius Aurelius roots his works unabashedly to the labor of their making. These works perform the experience of living. Each piece reflects back the pressure created by both negative / positive space, of two opposing forces continually pressed to each other’s borders, becoming inseparable.
When I walk
I part the air
the air moves in
to fill the spaces
where my body’s been.
Dunham Aurelius’ works are knotty; made with clays, waxes, wood, bronze, steel and found objects, Aurelius employs whatever means satisfy the needs of the work. The work strikes a brutal contrast. In Aurelius, we have weight in empty space. They are reminiscent of De Kooning’s “Clam Diggers,” in that Aurelius gives us forms that are utterly crushed yet still surviving and spilling to the outside, speaking of a matter of duration to the viewer.
Aurelius uses the lost wax casting method, among others, to transform his art. He allows the forms to be deformed by the process through which they are made, stipulating perhaps that this deformation is their form. Each work is essentially a canyon, etched out by heavy winds. It is perhaps this incontestable pressing of space and material, this always two edged cutting that provide us with such a richness of life.
Dunham Aurelius was born in 1970 in Ridgewood, New Jersey. He currently lives and works in Santa Fe, NM. Aurelius was exhibited in the Biennial Southwest: Albuquerque Museum of Art in 2006 and 2008. His work, “Flight,” in its polished bronze version, is a part of the permanent collection of the New Mexico Museum of Art and this work was exhibited in the show entitled “Explorations in Bronze: Degas and New Mexico Sculptors” at the NMMA.
We all have reasons
to keep things whole.
Mark Strand, "Keeping Things Whole" from Selected Poems
Playing the intermediary between Dill and Aurelius, Rachel Stevens makes sculpture that is profoundly rooted in space and movement. Here, she presents work that isn’t afraid to show the process of labor or the effects of the outside on an organic form, of wind pushing against a limb tirelessly, all the while maintaining elegance, a fragility of form.
In new clay works, Stevens plays with objects suspended. These works open up to the negative space and are held completely within. They are both dense and weightless but have to vacillate between this relationship.
Stevens received her BFA from the Maryland Institute of College of Art (MICA) and her MFA from Syracuse University. She attended The Skowhegan School of Painting and Sculpture while still an undergrad at MICA. Her work has been deeply influenced by her travels abroad, particularly her Fulbright to Nepal. Stevens was made a Fulbright Ambassador in 2010. She has received numerous grants and awards most notably a Pollock-Frasner Foundation grant.
Zane Bennett will be hosting this exhibition starting
Friday, March 27, from 5:00‐7:00 pm
of the Railyard Arts District Last Friday Artwalk