Moskowitz Bayse is pleased to current Compartmentalizing, an exhibition of new works by Brooklyn-based artist (and former Juxtapoz Initiatives artist) Eleanor Swordy. The occasion marks the artist’s fourth solo presentation at the gallery, and will be set up in our Viewing Area by February 4, 2023.
In Compartmentalizing, the seven drawings and one painting on watch give explorations of sensorially heightened times mined from observation and everyday schedule. Here, the artist continues to hone the official and specialized possible of her respective mediums her system of scratching into successively utilized levels of material, for occasion, has advanced from a textural component to just one that mutably defines opacity, variety, and volume throughout operates. That means emerges gradually by means of collective working experience, humor, and earnest references to art history.
Physical laws of Swordy’s individual creation are defined this kind of that standpoint, composition, and detail perform jointly as keystones of narrative, strategies of room, and conveyors of temper. With drawing as with painting, the artist and viewer are knowledgeable by the medium’s intrinsic materiality these that the work’s articles and topics are described by way of it. To us, the fishbowl in Catching is necessarily spherical to the artist’s fish and her would-be captor, bowl, h2o, and net exist firmly in two dimensions, linked as a great deal by people incontrovertible features as by their shared participation in an ominous dance. In Quicksand, a hapless issue gasps with looming finality as the floor absorbs them, while diversified grains of rock, sand, and toned brown paper coalesce at the surface area conspiring to swallow the figure into an inescapable vortex.
The artist often isolates her topics just as they exactly occupy their surroundings, emphasizing times concurrently caught among before and right after. This humble quick, just right before the microwave in Reheating flings open up to reveal dinner–perhaps splattered, possibly intact–becomes the quite business of looking, longing, and apprehending the vagaries of the existing toward that uncommon problem of existing solely within it. Swordy’s hightented modes of observing, of marshaling product, sort, and synesthetic working experience into visual language, afford to pay for us the opportunity to rediscover and take into account these marginalia. Privileged then, that she invites us to be part of the protagonists in Travel-In through its climactic scene.
