In 15 years, the players were hitting a lot of running at home. Sorry for the sporting term: If you are thinking about the world of art as a competitive market devoted to capital gains and winning with a team of stars players, the metaphor is appropriate. But the founders of the exhibition, Paul Gondry and Shilby Jackson, have achieved a lot with minimal flash and hollow mystery. The two friends, who began to offer work in the Brooklyn area in 2016, were able to create something rare – a commercial advertisement Constal Where the power of aesthetics is the primary focus. In this way, they created their own market, as the surprise is a major element in the institution.
Gondry and Jackson, who were in their twenties when they founded the exhibition, used for the first time 15 Orient, which was in the east of Williamsburg and then, as a place to show their work. In 2019, Gondry moved away from the exhibition, and moved to Jefferson Street in Boosok, to a town that I did not tire of visiting. After it appeared a little on a non -traditional side street, the exhibition had uneven floors and the walls were a cavity, collapsed, and beautiful. Entry was like walking on a collection of films – those that collected certain elements from “Barry Lindon” from Stanley Cubic (1975) and Roman Polanski Moods (1965). Other artists who started 15 Orient to appear often well suited to this group – especially the wonderful Skipees Theodora, whose Gothic dolls, theater designs and other creations enhance the erosion of the wonderful building.
Last year, 15 Orient moved to the center of Manhattan, although its website continued to send visitors to Brooklyn. This appeared to be in line with Jackson’s approach to the move intentionally in marketing. Once you tracked 15 years, on Walker Street, it was a pleasure to see that the new area has all the magic of the previous area – distributed walls, and loud floors – but, because it is upper, spanning horizontally, instead of Al -Amoudi, instead of Al -Amoudi, instead of Al -Amoudi, instead of the vertical, instead of through six high -ceiling rooms. I was curious to find out how the work of the Samuel Hindolo painter will be installed, with its water colors that are treated lightly and a dull pencil, in the opening show of space. The new (old) walls did not swallow the work, and left with greater appreciation not only the power of Hindu and its refreshing imagination, but the ability of Jackson to maintain the intimate relationship of the salon. (Jackson joined in 2022 by the current director of the exhibition, Bin Morgan Cleveland.)
The sculptor Jilaine Jones is the new 15 orient star, and while opponents gave her the treatment of stars – “A Walk with D. Ann” (until the first of March) appears as a single retro – they are presenting her work in an inevitable way. This simply says, Here we think it is great, and I hope you think about it too. I do. In fact, it’s very good – innovative and vital – to the point that you feel embarrassed because the art world has not recognized this fact for a long time. She was born in London in 1959, Jones moved with her family to the United States in 1963. As a young woman, she studied at the Ceramic College at Alfred University, and the Museum of Fine Arts Museum, Boston. Although she is studying and showing work at the New York School, studio, this is her first exhibition in New York since 2001.
The first time I went to “walking with D. Ann”, while she stood on the doorstep, it was a kind of virginity that filled me from the inside. In the presence of Jones’s works, I felt an unusual feeling of contentment. During a quick examination of the exhibition, I was relieved to see that, unlike the work of a number of other contemporary sculptors, the twentieth pieces offered were not deceived. Everything was invented by Jones was made of really simple and modest materials – paper, paper, steel, concrete – the statues were designed personally, instead of doing their assistant designs. Her hand was everywhere. In fact, the first pieces I saw about the hands, and how the artist’s hands, in particular, were tools for transformation. The shapes made by Jones’s hands are shifted because of her love of air.
In the first room, three pieces settled, in red clay, on a white platform. The series is called, from 2018, “Horizon in the hand”, and the works appear, in the beginning, such as the ridiculous paste that some children spanned the shapes of the vital shape – legs, and hands – before eating dinner. But this is just a passing idea, because the level of evolution, the tenderness of thinking that Jones put in these works, could not result from a person with him, and how life did not form, and reshape it. In “Horizon in the Hand 2”, it appears that two people are intertwined. Are they in the act of love? Or are they “only” forms? I would like to venture to say that these shapes are bodies and something more: the bodies in the act of exploring what the feeling means to touch. The upper number seems to have risen to the bottom, perhaps in the middle of the victory; One below it looks receptive to a force that may be nice or aggressive. Their long leg tells a strong story about Iros, and they reminded me of the moment in the poem of Marianne Moore “Marriage” when Adam and Eve become one:
To be torn with beauty means that you have surrendered to that; He holds. What continued to tear me while I was walking in Jones’s offer is its touch, which is something that is not associated with many sculptors at the present time, when the models are often “huge” or increasing using unusual materials. Jones focuses on working on hand, on the best way to make something under construction as he himself should be, he wants to be. In the movie “Macdowell Woods” (2014), which is an eleven and a half years relief, Jones uses the simplest materials to create a work around the vertical. Parts of the folded paper line up or divided into a field that includes smaller parts of the paper in the base, creating a scene of Chekhovian and is a little bid at the same time. “Macdowell Woods” is located on the wall on its own, and you are attracted to it because it looks a little alone, and because of its wonderful craftsmanship. I hesitate to describe Jones as “Macci”, which may mean that she is a popular artist. It is not. Her ambition is great and self. You cannot measure it against others because it does not measure itself. Instead, she is in dialogue with herself and with materials.
Another piece of 2014, “QuisPory”, which is made of steel, clay and washing clay, wanders in hard and flexible with great ingenuity and care. The bars stick to a twisted tube, a louda pile of almost formed concrete squares was built. Drush, fat, length, and lean shed light on each other, and you feel as if you hadn’t seen these shapes before, even if you have. This is the thing related to the artist’s vision, especially if the artist has a great style, as Jones does: it gives a new meaning to the ordinary, and before you know that, it sails to the unknown.
The largest sculptures in Jones, such as “Time in Study” (2010) and “What surrounds her home” (2008), suggests elements withdrawn from the ocean floor (Jones has a special charm with corrosion) and sees it through David Lynch lens. “Time to study” is a large steel structure, with an area of ninety -seven by one hundred and eighty -five in thirty -seven inches, similar to the ship without a body. Several steps lead to a board or board, but you cannot insert the structure, because the deck does not exist. Long steel gangs hang and retreat in front of the piece, which reminds us of the wonderful and funny pieces in Eva Hess, such as “Hang Up” (1966), where a rod comes out of a frame, and then rotates. Jones’s seriousness of humor is activated, and a large white -white head shape at the base of “What surrounds her home” is similar to the creature that plows to breathe in “Eraserhead” in Lynch. He is creeping, but we want to live.
I do not know what Jones’s relationship to films or in reality for any form of art besides sculpture because it lives firmly in the middle, but for the viewer, the concrete concrete mix, rusty tubes, etc., with air. About work – the element between our ages – raises the idea of drilling, everything that has been dug, examined and taught something about the past. It is similar to wandering in Jones’s work on the edge of archaeological drilling. You don’t know what to expect but you are excited to discover it, to fill with the sadness of time and the glory of the things that are brought to light. ♦
