For the first time participating at MiArt, Kayne Griffin Corcoran is pleased to present newly commissioned works by Aida Ruilova (New York, USA) and Mark Handforth (Miami, USA). Also to be exhibited will be Giulia Piscitelli (Napoli, Italy) and David Lynch (Los Angeles, USA).
Aida Rüilova continues her project involving vintage erotic film adverts and graphic black cut-outs. In an earlier series, the artist adopted posters marketing the classic 1970’s French erotica film series, Emmanuelle, and the soft-focus fantasy knock-offs it inspired. Black squares with cartoon-like eyes were strategically painted onto the surface of the images to further elicit voyeuristic provocations. In the new series, Rüilova cuts directly into the vintage poster – mutilating the figure in choice locations. The black pools of paint are traded in for velvet floral motifs, pushing the sensuality and exploitation of the figure used by the film industry.
Mark Handforth, known for his large-scale sculptures of common household objects, created over-sized functioning furniture works for the Kayne Griffin Corcoran booth. The furniture works follow in line with the commissioned Hammer Museum benches that are located along the outdoor corridor of the institution. The oeuvre of the artist can be viewed as a “hall of symbols” – the spiral, star, cross, horseshoe, circle, the outline of a telephone handset, and wooden bench planks – constituting a set of signs and distinctive forms that concern our everyday lives.
Giulia Piscitelli’s tapestries make reference to symbols found within American history and often with a pointed relation to masonry or, more generally, to ‘work’. Using the textural richness of velvet as a canvas, Piscitelli uses bleach to draw, a process in which creation and destruction become inextricably entwined. Several tapestries display a symbol of utility—for example an anvil, a tuning fork, a level, and a compass—humble objects of work or production yet nonetheless each with their own historical and cultural significance.
Well known for his endeavors in counterculture film and television, David Lynch, has a parallel practice in the visual arts and design. In the booth will be a series of watercolors on paper and mixed media paintings. Similar to the dark surrealist nature of Lynch’s filmic productions, his visual practice also taps into the unconscious. Lynch paints from life and from his imagination often resulting in Bacon-esque compositions that include figurative motifs in both representation and abstraction.