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  Laura Sharp Wilson
 March 30 - May 4, 2014
 

Interconnected abstract and naturalistic forms weave, tug, bind and undulate throughout Laura Sharp Wilsonís detailed paintings in her fourth solo exhibition with the gallery. She combines intricate patterns, flattened areas of color and fantastical botanic forms to emphasize the tension between confusion and clarity. Her idiosyncratic compositions address both intimate personal details of her life and universal social and environmental concerns.
 
Wilson creates her sharply rendered acrylic paintings on Japanese paper mounted to wood panels. The fibrous texture of the paper becomes a visual element upon which she layers shapes and motifs inspired by abstraction, textile design, knot formations, and the natural world. Wilson cites influences ranging from 18th-century Indian bed-curtains and the Constructivist textile designs of Varvara Stepanova to the work of Keith Haring, Yayoi Kusama, and Chris Ofili. Using components of her visual language, Wilson incrementally builds each painting until a wonderful density is reached. The space within the work is both complex and compressed. In front of curiously colored backgrounds and obsessively minute patterns, segmented stalks support patterned bulbs in the midst of wild coiling vines and looping barbs. The completed works reflect the inherent tensions among her influences: abstraction represents nothing, yet encompasses everything; nature has been disempowered, yet always overcomes; strands and fibers can be tangled, but also clearly ordered.
 
The subjects of Wilsonís paintings come variously from her personal history, her inner processes, and humanityís relationship with the natural world. Copper, a painting with striated tassel forms suspended among rocky outcrops, represents the Rio Tinto Bingham Mine. This open pit mine is the largest in the world and prominently visible in the Salt Lake valley, near where Wilson has lived for several years. The centrally radiating composition of Lou Mandala with Cady Underneath was originally inspired by the target paintings of Kenneth Noland, but transformed into an ode to the recently-deceased Lou Reed. In Stew, Fuss and Whine Assembly Line, the artist expresses her own personal tendency to obsessively mull over lifeís minutiae, while in The Most Radical Thing You Can Do, Wilson celebrates the slow, methodical, but generous activity of complex art making.
 
 
Copper, 2013
Acrylic and graphite with collage on mulberry paper mounted on wood
16 x 23 1/2 inches

Lou Mandala with Cady Underneath, 2013
Acrylic and graphite on Unryu paper mounted on wood
18 x 17 inches

Tank, 2013
Acrylic and graphite with collage on Unryu paper mounted on wood
15 3/4 x 29 1/2 inches
 
Road to Spiral Jetty, 2013
Acrylic and graphite on mulberry paper mounted on wood
18 1/4 x 18 1/4 inches

High Desert Mountain Town, 2012
Acrylic and graphite on Unryu paper mounted on wood
24 x 14 inches

The Most Radical Thing You Can Do, 2013
Acrylic and graphite on with collage on Unryu paper mounted on wood
22 x 22 inches
 
1996, 2014
Acrylic and graphite with collage on silk paper mounted on wood
32 x 24 inches

Stew, Fuss and Whine Assembly Line, 2013
Acrylic and graphite on Unryu paper mounted on wood
21 3/4 x 21 3/4 inches

Strapped, 2014
Acrylic and graphite with collage on Unryu paper mounted on wood
24 x 18 inches
 
Four Medals, 2014
Acrylic and graphite with collage on Unryu paper mounted on wood
16 x 23 1/2 inches

The Obscure, 2014
Acrylic and graphite with collage on silk and Unryu paper mounted on wood
32 x 24 inches

Too Much Talking, 2014
Acrylic and graphite on Unryu paper mounted on wood
15 3/4 x 29 1/2 inches
 
Harnessed Loop, 2014
Acrylic and graphite on mulberry paper mounted on wood
12 x 9 inches

Bottom of the Barrel, 2014
Acrylic and graphite on Unryu paper mounted on wood
7 1/2 x 23 3/4 inches

Work Hard Typewriter, 2014
Acrylic and graphite with collage on mulberry and Unryu paper mounted on wood
13 x 10 inches
 
Wormwood Pattern, 2014
Acrylic and graphite on Unryu paper mounted on wood
12 x 9 inches

Laced Tower, 2014
Acrylic and graphite on Unryu paper mounted on wood
23 3/4 x 7 1/4 inches
 
Installation view

Installation view

Installation view
 
Installation view

Installation view

Installation view
 
Installation view

Installation view

Installation view
 
Installation view
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55 Orchard Street, New York, New York 10002 212 989 5467 fax 212 989 5642
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