Allyson Vieira, ‘Clad (The City Wall) II’, 2013, Swiss Institute Benefit Auction 2015

In Allyson Vieira’s “Clad” series, the artist creates sculpting material by mixing scraps from her studio with plaster, which she then pours onto a stud and drywall base. Each piece in the series is made with the detritus of the previous one, allowing every consecutive sculpture to act as a kind of visual record of Vieira’s artistic process. This effort to incorporate material history stems from Vieira’s fascination with Greek historical sites, and the rare ability to see the way in which ancient architecture was constructed. Vieira is represented by Laurel Gitlen, New York and has recently exhibited at Cantor Arts Center, Stanford University and The Sunday Painter, London.

Image rights: Courtesy the artist and Laurel Gitlen

About Allyson Vieira

The work of Allyson Vieira simultaneously evokes the ancient history and the recent past behind her objects’ creation. She often works in plaster, its smooth, white surface calling to mind the monumentality of classical marbles and architectural fragments, while showing signs of the processes through which it was shaped. Bas-reliefs seemingly plucked from fallen empires are molded in the shape of the artist’s fists and fingers, her fleeting gestures captured in the hard material. Plaster, a material whose sole purpose is to take other forms, is especially suited to her explorations of history and reference, but so are the plastic bottles and coffee cups—a thoroughly modern marker of this epoch—that she renders in delicate gouache. Notable exhibitions include “Meander, Frame,” Laurel Gitlen, Frieze NY; “Shortlisted Artists for the Future Generation Art Prize 2014,” Pinchuk ArtCentre, Kyiv, “The Plural Present,” Swiss Institute, New York and Kunsthalle Basel, Basel, 2013; and “Build On/Build Against,” Non-Objectif Sud, Tulette (France), 2013.

American, b. 1979