![]() A few of the works on view continued Dault’s past efforts in this vein: Super Cutz, 2014, for example, employs an additive process, superimposing a lattice of black leather atop a painted, printed canvas in the same Day-Glo-meets-1980s-beachwear palette that unifies the new pieces. While the inconstant compositions of her drapes and sculptures alike emphasize duration and the agent of arrangement, her body-con-fabric-clad panels also, in a way, imply use: Their salvaged supports were originally manufactured to become garments associated with performance (as such, subjected to stretch and strain). In the past, Dault’s engagement with painting has comprised both “drapes” (her name for paintings that consist of fabric pinned to the wall or hung from a nail), which are refashioned for each installation, and more conventional panels. Here, Dault largely forewent her mainstay materials-gold lamé, texturized pleather, perforated vinyl, spandex, and silk-for art-grade canvas. The performative framing of Dault’s sculptural works raises questions regarding its bearing on her paintings, as they are often exhibited in tandem. The very literal tension resided in the work’s provisional stasis, bracketed as it was by the opening and closing of the show. Fastened to the wall with boxing hand wraps and string, the sheets suggested a dynamic undoing-pent-up force snapping straps-that never arrived. ![]() ![]() As with other pieces she has recently exhibited at the New Museum in New York and White Cube Bermondsey in London, among others, Dault here coerced large panes of Formica and Plexiglas into balletic bowing forms through acts of physical exertion. A decidedly material proposition, Untitled 34 nonetheless foregrounds the artist’s bodily engagement in its prolix title (which records the time involved in the work’s production over the course of two sessions). Julia Dault, Magic Mountain, 2013, acrylic and oil on canvas, 61 1/2 × 42 1/2″.įor her first solo show in Los Angeles, “Rhythm Nation 2014,” Julia Dault installed ten paintings around one sculpture, Untitled 34, 2:45 PM–7:45 PM, Ap11:30 AM–12:45 PM, April 16, 2014.
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