Quite Fairly Rather , 2015  A three-person exhibition, with sculptures by Carey Denniston, sound installation by Hanne Lippard, and wallwork by Lauren Clay.  Topless Gallery, Rockaway Beach, New York Curated by Jenni Crain and Brent Birnbaum   Press:   Art Viewer   From the press release: The tide rolls in and the tide rolls out. Taking with it the shifting planar remembrances upon which we used to stand. This transformation a translation of our longing.  Lauren Clay’s wallpaper works are spatial and sculptural. Illusionistic in form, they create a dialog between spatial perception and the transformation of collapsed space to three-dimensional space. Upon installation, the wallpaper appears to distort the gallery, naturally generating an idea of depth. The image comes from a traditional, analog process, which is repetitive but unpredictable. The works feel consequently disorienting in relation to the digitally produced images and graphics with which we are so accustomed.  Carey Denniston's  Untitled (Mats)  is an ongoing body of work (2014- present) composed of sculptures cast from used car floor mats. The casts combine crushed seashell and blackened plaster, and replicate the pattern and worn texture of the original found objects. The height of each cast is varied, scaled upwards of ten inches. With extruded shape and altered materiality the form resembles a tablet or tombstone - a sculpture oscillating between monumentalism and low commodity culture.  Hanne Lippard's practice explores the voice as a medium. Like all constructions of the mind, Lippard's work starts with the word. If the world appears to us in language, she is measuring its scale through words. The matter of words is what matters, though not as a matter of facts. Their sounds read out in rhyme and with rhythm—the use of the voice, capturing space in the world by measuring time, wanting to give body to time when time doesn’t have it.
       
     
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  Quite Fairly Rather , 2015  A three-person exhibition, with sculptures by Carey Denniston, sound installation by Hanne Lippard, and wallwork by Lauren Clay.  Topless Gallery, Rockaway Beach, New York Curated by Jenni Crain and Brent Birnbaum   Press:   Art Viewer   From the press release: The tide rolls in and the tide rolls out. Taking with it the shifting planar remembrances upon which we used to stand. This transformation a translation of our longing.  Lauren Clay’s wallpaper works are spatial and sculptural. Illusionistic in form, they create a dialog between spatial perception and the transformation of collapsed space to three-dimensional space. Upon installation, the wallpaper appears to distort the gallery, naturally generating an idea of depth. The image comes from a traditional, analog process, which is repetitive but unpredictable. The works feel consequently disorienting in relation to the digitally produced images and graphics with which we are so accustomed.  Carey Denniston's  Untitled (Mats)  is an ongoing body of work (2014- present) composed of sculptures cast from used car floor mats. The casts combine crushed seashell and blackened plaster, and replicate the pattern and worn texture of the original found objects. The height of each cast is varied, scaled upwards of ten inches. With extruded shape and altered materiality the form resembles a tablet or tombstone - a sculpture oscillating between monumentalism and low commodity culture.  Hanne Lippard's practice explores the voice as a medium. Like all constructions of the mind, Lippard's work starts with the word. If the world appears to us in language, she is measuring its scale through words. The matter of words is what matters, though not as a matter of facts. Their sounds read out in rhyme and with rhythm—the use of the voice, capturing space in the world by measuring time, wanting to give body to time when time doesn’t have it.
       
     

Quite Fairly Rather, 2015
A three-person exhibition, with sculptures by Carey Denniston, sound installation by Hanne Lippard, and wallwork by Lauren Clay.

Topless Gallery, Rockaway Beach, New York
Curated by Jenni Crain and Brent Birnbaum

Press:
Art Viewer

From the press release:
The tide rolls in and the tide rolls out. Taking with it the shifting planar remembrances upon which we used to stand. This transformation a translation of our longing.

Lauren Clay’s wallpaper works are spatial and sculptural. Illusionistic in form, they create a dialog between spatial perception and the transformation of collapsed space to three-dimensional space. Upon installation, the wallpaper appears to distort the gallery, naturally generating an idea of depth. The image comes from a traditional, analog process, which is repetitive but unpredictable. The works feel consequently disorienting in relation to the digitally produced images and graphics with which we are so accustomed.

Carey Denniston's Untitled (Mats) is an ongoing body of work (2014- present) composed of sculptures cast from used car floor mats. The casts combine crushed seashell and blackened plaster, and replicate the pattern and worn texture of the original found objects. The height of each cast is varied, scaled upwards of ten inches. With extruded shape and altered materiality the form resembles a tablet or tombstone - a sculpture oscillating between monumentalism and low commodity culture.

Hanne Lippard's practice explores the voice as a medium. Like all constructions of the mind, Lippard's work starts with the word. If the world appears to us in language, she is measuring its scale through words. The matter of words is what matters, though not as a matter of facts. Their sounds read out in rhyme and with rhythm—the use of the voice, capturing space in the world by measuring time, wanting to give body to time when time doesn’t have it.

LCLAY12.jpg
       
     
_MG_9562_flat.jpg
       
     
LaurenClay.Topless6.jpg
       
     
LaurenClay.Topless4.jpg
       
     
LaurenClay.Topless3.jpg
       
     
_MG_9564_flat.jpg
       
     
_MG_9566_flat.jpg