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103 Norfolk Street
10002 New York
August 2nd, 2007 - September 1st, 2007
Opening: August 2nd, 2007 7:00 PM - 9:00 PM

east village/lower east side
(212) 967-2260
Summer Hours: Wed-Sat 11-6 (Tue-Fri after 4th)

THIERRY GOLDBERG PROJECTS is proud to present NO MELODY HARDER, paintings by Allison Katz and JessicaWilliams. Both artists share a propensity to explore meaning through a sharp personal syntax.  In this manner, they align themselves with the tradition of Gertrude Stein and her commitment to an astute and off center presentation of the familiar.

“Dirt and not copper makes the color darker.  It makes the shape so heavy and makes no melody harder.”--Gertrude Stein, “DIRT AND NOT COPPER,” Tender Buttons

Allison Katz’s suite of paintings reference a portrait by Jean-Baptiste Corot from 1866. The painting titled Agostina is in thecollection of The National Gallery in Washington DC. Reproducing the portrait with each painting, Katz creates a ground uponwhich she can connect and respond to psychologically.  In turn, she overwrites Agostina with her own psyche in an effort to become Agostina.

Jessica Williams’ work takes this position in terms of “open and closed identities.” Her work marks a point where the artist’s gaze is an active dialogue between surface reality and internal reality.  In this sense, she intertwines, both loosely and tightly,her own remembering and recording to the subject at hand creating thick psychic and irreverent moments.

Katz and Williams’ work is characteristic of the paroxysm of the daydream and notion, which keeps the work fresh, fast, andreflective with no regrets.  They push forward and further in looking to embolden and enliven their response.

In giving meaning, Katz and Williams have traditional yet open relationships to their subjects.  The strength of their work lies inthe dedication to figuration and observation while allowing themselves to be drawn past the surface of those representations.Their willingness and susceptibility to diversion in memory, metaphor, and symbolism is evidence of the resilience of poetic thought.  These digressions in observation stand as moments of lyrical reflection as well as a kind of interference in the act oflooking.  Thus questioning focus, their gaze is a play between exteriors and internal murmurs gathering into an arresting poeticattention deficit disorder in which no melody is harder.