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520 W. 27th Street
New York, NY 10001
September 8th, 2007 - October 16th, 2007

212 966 6676
Tue-Sat 10-6

This is Frey’s first posthumous exhibition at the gallery, organized around the theme of her personal vocabulary of images, which cascade from two-dimensional pastel drawings on the wall to three-dimensional freestanding sculptures. Frey built a vocabulary of images over the years of figures, figurines, commedia dell’ arte masks, horses, Wedgwood couples—the list goes on and on. Most of the images in her smaller sculptures come from a collection of figurines she amassed over more than 20 years at flea markets. She cast ceramic images from these figurines, and painted them with her own palette, abstracting the form, selecting color based on a total composition. Some of the figurines refer to her upbringing on a farm in Lodi, California (such as the rooster); others intrigued her visually as possibilities for her work. She had a “rule” about pieces she selected at flea markets, the pieces had to fit into her pocket as she traveled to and from the flea markets on a bus.
The works span three decades from the ‘70s to the early 2000s. The works on paper range from watercolor to acrylic to pastel, the sculptures from a freestanding single rooster to plates to bricolage pieces: compilations of figures and figurines, representing for the artist the abstractions of contemporary society. Included also is a heroic tile wall, measuring 100x140 inches, filled with men in “blue power suits,” Frey’s signature garb for her monumental standing and seated sculptures; and women in dresses based on ‘50s style. The artist kept a dress from this era as a prototype of style, and made variations on this dress throughout her career.
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