In Room X: Megan Marrin
17 Nov - 22 Dec 2012
IN ROOM X: MEGAN MARRIN
Selected by Dmitry Komis
17 November – 22 December 2012
Bortolami is pleased to present a recent body of work by Megan Marrin.
These intimately scaled pieces are variously comprised of printed paper, resin, leather, and industrially produced accent shelves. Marrin uses imagery from the surfaces around her, predominantly her world. These can range from a vintage scarf extensively searched for, or rich sections of colored leather, to the artists wardrobe, or a particularly distinctive belt. These things to be “put on,” are then photographed or scanned, and grafted like skins over constructed supports. Some have domestic allusions; the shelves, a panel that has been treated with architectural molding; others are simply stretched and coated with resin (recalling an actual process of treating real skins for use in decorative and functional objects).
An uncanny tromp l’oeil takes place between the synthesis of the digital and of the artist’s hand, creating a new body which resembles painting in its format, and deals with the psychological implications of masking and the thrill of adornment. It is a reminder that in our daily lives, the act of covering up combined with the subjectivity of taste, become integral to the realization of “me,” to ourselves and to others.
Tyler Dobson
Selected by Dmitry Komis
17 November – 22 December 2012
Bortolami is pleased to present a recent body of work by Megan Marrin.
These intimately scaled pieces are variously comprised of printed paper, resin, leather, and industrially produced accent shelves. Marrin uses imagery from the surfaces around her, predominantly her world. These can range from a vintage scarf extensively searched for, or rich sections of colored leather, to the artists wardrobe, or a particularly distinctive belt. These things to be “put on,” are then photographed or scanned, and grafted like skins over constructed supports. Some have domestic allusions; the shelves, a panel that has been treated with architectural molding; others are simply stretched and coated with resin (recalling an actual process of treating real skins for use in decorative and functional objects).
An uncanny tromp l’oeil takes place between the synthesis of the digital and of the artist’s hand, creating a new body which resembles painting in its format, and deals with the psychological implications of masking and the thrill of adornment. It is a reminder that in our daily lives, the act of covering up combined with the subjectivity of taste, become integral to the realization of “me,” to ourselves and to others.
Tyler Dobson