CLIFF YOUNG Ltd
Presents
Mary Ann Strandell:
Constructions and Transmissions
Paintings and 3D Lenticular Media
Curated by Leslie Zarra Young, Marichu Custodio
and Jeff Oakes
September 13- February 15, 2019
Opening Reception September 13, 1:30 -8:00pm
In conjunction with "What’s New/ What’s Now”
Join the WNWN Panel Discussion “Sweet Spot”, 1:15 pm
At Cliff Young Ltd in The New York Design Center, Thursday, the 13th
Cliff Young Ltd
200 Lexington Ave - 505
New York, NY 10016
212-683-8808
Cliff Young LTD is pleased to present Mary Ann Strandell, "Constructions and Transmissions", a solo exhibition of paintings and 3D lenticular print media in our Lexington Ave showroom. The exhibition, "Constructions and Transmissions" examines various architectural and chinoiserie themes in my work. The towers, construction sites, Shunga patterns are metaphors of the hyper changing landscape in urbane cities. They are formed by photographing and activating information that comes up through my observations, as a kind of transmission of ideas, in my research, and the structures constantly being built around me. The city, as part the landscape tradition, reverses itself, to a form of de stijl, in the studies of the urban construction sites. These works are two fold: painterly on the one hand, and digitally montaged as lenticular media, on the other.
A couple years ago I began painting Apple store interiors and Period Rooms at The Met as a way to consider huge shifts in historic and technologically rich spaces. I started painting Hudson Yards construction sites since it’s inception, often walking between my Chelsea studio and the Hudson River ferry. The partially built structures reveal a mass intensity, in a way that the completed buildings do not, and my work performs this moment. Some of the pairings allude to a sense of the buildings being built, and yet one can feel them as dissolving; they are dynamic structures.
The Los Angeles works take on a both intimate and expansive space. The "Beverly Hills Vista" is a view from a top floor office building which brings on a vertiginous play between patterned oil markings, and the expanded horizon. The "Megan Draper “ lenticular series, transformed from the scenes of TV’s Madmen reveals a small 1970’s interior that is the backdrop of a floating, collaged narrative. Other lenticular’s take on an abstract structure, another view of architecture. The descriptive, discursive nature of these works are less about the actual places I have rendered, and more about considerations of time and the theatre of change.
A couple years ago I began painting Apple store interiors and Period Rooms at The Met as a way to consider huge shifts in historic and technologically rich spaces. I started painting Hudson Yards construction sites since it’s inception, often walking between my Chelsea studio and the Hudson River ferry. The partially built structures reveal a mass intensity, in a way that the completed buildings do not, and my work performs this moment. Some of the pairings allude to a sense of the buildings being built, and yet one can feel them as dissolving; they are dynamic structures.
The Los Angeles works take on a both intimate and expansive space. The "Beverly Hills Vista" is a view from a top floor office building which brings on a vertiginous play between patterned oil markings, and the expanded horizon. The "Megan Draper “ lenticular series, transformed from the scenes of TV’s Madmen reveals a small 1970’s interior that is the backdrop of a floating, collaged narrative. Other lenticular’s take on an abstract structure, another view of architecture. The descriptive, discursive nature of these works are less about the actual places I have rendered, and more about considerations of time and the theatre of change.
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