Oog à Travers Opening Reception May 12

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Oog à Travers   Opening Reception May 12
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Oog à Travers Opening Reception May 12 says
OOG
à travers is a two-artist exhibition Manuèle Bernardi (Paris, France) and Peter Andrew Lusztyk (Toronto, Canada) that explores the passages between diverse media, scales, and localities.

In ancient Greek, a same word, κδσμος (cosmos), designated both the natural universe and the ornamentation of objects and environments. On this view, ornament in our more restricted sense was the condensation and explicit manifestation of a principle that is pervasively given in the physical world, a principle of harmony that reveals itself in the judicious apportioning of parts.

The recent work of Manuèle Bernardi can be read as a sustained meditation on this connection between nature and the pursuit of pattern and order, albeit an order always animated by movement and transformation. The cubic plexiglass vitrines that serve as the frames for her recent sculptural assemblages are so many microcosmoi, controlled environments in which she captures the patterned congregations of species and trans-species communities that she observes in her immediate environment. Bernardi’s fascination with the spontaneous forms assumed by groups of butterflies in flight is emblematic in this regard. Like a lizard to its sunny rock, her eye is inexorably drawn to the spontaneous organization of parts into complex wholes.

The photography of Peter Andrew Lusztyk uses orientation and scale to de-familiarize our relationship to otherwise familiar objects and environments. The aim of this strategy of defamilairization is less critical than aesthetic: to produce a state of wonder or astonishment in which, to recall the German poet Rilke, one sees like the first man. In earlier works Lusztyk explored the accidental arabesque that highway infrastructure forms when surveyed froma superhuman perspective. Although they are nominally landscapes, these photograph’s as readily suggest connections to nineteenth century grammars
of ornament, with their involuted symmetries, as to the conventions of landscape painting and photography. In those works, the horizon, as index of the human occupation of the landscape, was entirely eclipsed to reveal the patterns that the landscape reveals in plan; in the works on view in this exhibition,
which are also nominal landscapes, the horizon returns, but slung very low on the picture plane.
The result is less landscape than skyscape, its effect,less picturesque than sublime. In these works, the slip of terrain that filigrees the picture’s lower edge is sparsely populated by human figures whose minuscule stature is indexed to the vastness of the heavenly expanse that looms above, and so by implication the partiality and fragility of our perceptual purchase on our immediate surroundings.

Exhibit runs May 12 - 26
for more info contact cais@onlyonegallery.com
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By: Onlyonegallery