"In my undertaking I have chosen words carefully. Not as a surgeon who arrays his instrument to dissect a cadaver under unblinking light, but as a thief who works in the dark… I have knelt at the threshold of this slim-waisted Judas gate, this hourglass filled with night, and found a way through the void between evening and morning star."
— Peter Grey, Apocalyptic Witchcraft
C. Grimaldis Projects is pleased to present The Slim-Waisted Gate, a group show of works in the dark. The exhibition features recent paintings and sculpture by Dan Herschlein, Ann Greene Kelly, Chris Lux, Nick Mayer, Vanessa Gully Santiago and Flannery Silva which explore themes of twilight, half-consciousness, and the liminal threshold between logic and the sublime.
Some works in this exhibition require darkness as a condition of their presentation; others deal thematically with dim light. There is a peculiar logic at play. Nick Mayer’s UV-reactive work Hole Body Terror (2017) appears a different painting depending upon its environment, its subject matter a perverse wordplay on libidinal anxiety. Flannery Silva’s Berry Battered Bunnies (2017) engages in similar mischief. Transmogrifying loaded symbol into transcendent, dreamlike object, the sculpture hangs between child’s plaything, adult costume and haunted handmade craft. Dan Herschlein’s Hope Chest (2016) itself contains a chest: a dislocated torso which lays in lieu of bedding traditionally entrusted to a woman preparing for marriage. Subtle terrors entwined with commonplace objects result in parapraxis; a crossing of wires loaded with revelations about fear and desire.
The specter of a constantly unravelling body hovers in the room. Ann Greene Kelly’s Untitled (2015) is a humanoid chair; a surreal lacuna whose potential for functionality is precluded by its form. Vanessa Gully Santiago’s Watcher (2015) depicts a paranoid nightmare or furtive fantasy. These are moments in which shining a brief light can illuminate a glimpse of devious activity— or the subject’s elusive nature. In this theatrical staging, Chris Lux’s Sweet Potato (Blue) (2015) appears as a talisman, a magical object in a room where one might wait through the night. The Slim-Waisted Gate fosters organisms which grow in an obscure corner, creating a zone in between times in which one’s identity casts a different shadow.