In the Studio
The title of the show stems from an artwork by Fared Manzur, a Miami based artist who will make his New York debut in Dwellers Part II. Manzur's studio is located in the Rice Hotel, a historically significant structure built in 1905 in downtown Miami that was left vacant for decades. The clean, minimalist lines of Manzur's paintings and sculptures are in direct contrast with the hotel. The exhibition's namesake work, Dweller, is a horizontal monochromatic yellow painting that lies flat on the floor, adorned with a clay sculpture of an insect resting on its surface, symbolising a species endemic to the space.
Ann Pibal, working from Vermont and Brooklyn, will contribute a new series of near-monochrome paintings, which over the span of the group evoke an evolving, fading depiction of glowing light. The use of metallic and iridescent paint, (silvers, golds, and bronzes) adds a sensual element that directly interacts with the exhibition space, reflecting both the ambient light of the gallery and the movement of viewers through the evolution of colour across the panels. The central motif of these works is a rectangle, which in its proportion echoes the format of the painting overall. Diagrammatic representations of books or volumes in each image extend the reference to time–allowing an apparently neutral shape to evoke not just the phenomenon of fleeting, transitory, light, but the mutability of understanding.
Using a simple unit, wood shim, as a form of ready-made material, New York-based Joseph Montgomery generates wall paintings that are at once rhythmic and architectural. His abstract, digital sceneries are occupied by schematic dolls, acting both as animation and physical sculptures that create anthropomorphic compositions. The artist will concurrently present a new video and several large-scale doll sculptures that will revert the grand scale of the exhibition space into an architectural model.
On site
As a painter of the real, Paris-based Jean-Philippe Delhomme's practice revolves around being present in a place, working directly from his eye and never from photography. In New York, the artist will introduce landscapes recently painted in Greece. Central to the landscapes are vernacular dwellings: simple houses by the sea, centuries-old, that convey a sense of perennial continuity. Concurrently in Paris, Delhomme will debut a new series of paintings that depict the interior of a large studio he occupied in Asnieres for a period of time. Scattered around the empty space, pedestals, speakers, a motorbike and other objects evoke a sculptural installation.
Leslie Hewitt will introduce in New York a new series of diptych photosculptures. Realised in Marfa, Texas, the works take the sky and light reflections emitted from Dan Flavin's untitled (Marfa project), a permanent installation at the Chinati Foundation, executed by Flavin in 1996. This presentation of works offers a prelude to a project Leslie Hewitt is developing for Dia next Summer at the Dan Flavin Institute in Bridgehampton. Both lyrical and controlled, they extend, as Hewitt says, her work's 'relationship to the entanglements of optics, physical space and light.' In Paris, one of her signature leaning photographs will be presented along other wall works.
Press release courtesy Perrotin.