INCLINATIONS: Alyse Ronayne, Gabriela Vainsencher, Heather McKenna, Sara Mejia Kriendler, & Tim Simonds, curated by Jae Cho
Spencer Brownstone Gallery is pleased to present Inclinations a group exhibition curated by SBG’s director Jae Cho. The summer show will feature works by Alyse Ronayne, Gabriela Vainsencher, Heather McKenna, Sara Mejia Kriendler, and Tim Simonds.
Inclinations aims to explore visual and cultural implications of the inclined. As the only animal to walk on two legs, human beings have imbued the straight and erect with platonic ideal and morality. Conversely, the inclined, reclined, and queered, are primal, passive, and connote a lack of agency. Unsurprisingly, this attribution is evident throughout art history. From the othered Odalisques to Barnett Newman’s Vir Herocius Sublimus ("Man, Heroic, and Sublime”) - a painting which features five perfectly vertical stripes, western art history reveals our inclination towards verticality. In her 2016 publication, "Inclinations", the Italian philosopher and art historian Adriana Cavarero explores the many facets of inclination found in art and culture and counters our societal obsession with rectitude. The five artists featured in this exhibition do the same.
Alyse Ronayne’s Floorscape covers and reshapes the gallery space. Made from oversized sheets of carpet pad, the fleshy, peach-colored rebond take on a figural quality becoming both space and subject.
Gabriela Vainsencher’s slumped porcelains, titled El Objeto Que Se Acuerda or Objects That Remember Themselves, are often the results of an intentional design flaw. The clay forms are imbalanced or made to be thinner at their base causing them to cave over and into themselves. Within the kiln, the defect animates and documents its own brief history.
Heather McKenna’s Light Paintings are close-ups of seemingly nothing. These ethereal gestures of light and shadow pass over disconnected and asymmetrical panels and remind us “every inclination turns outward, it leans out of the self”.
Sara Mejia Kriendler’s Standard Deviation features individually cast pillars planted along a grid formation. The pillars’ undulating heights resists the alignment of their isolated form.
Tim Simonds’s Bottles and Diaries of Routine Ghosts captures the artist’s management of gourd vines. The upturned home-grown rigging and detritus used to maintain the over-growth embodies a manic energy and the compromises of caring for the plants’ slow inclinations.