Raque Ford “Nighttime Grudge or How I Wanted to Be a Rockstar” at Greene Naftali, New York


You know when you are standing
And your sole is on the floor
And your heel is digging into the ground
And that tiny area between them
Proper there
Which is wherever I make a very little place for you

“Nighttime Grudge or How I Required to Be a Rockstar” marks Raque Ford’s debut solo exhibition at Greene Naftali, that includes a new human body of work that infuses abstraction with narrative possible. By turns slick and diaristic, intimate and bracing, Ford’s most recent wall will work and sculptures increase the formal prospects of her signature materials: fragments of language incised into rigid sheets of colored acrylic.

That overall imbrication of sort and written content – what just one critic phone calls her “Plexiglass poetry” – spans her do the job throughout two and a few dimensions. Panels of mirrored acrylic are etched with a spidery script and cite texts equally authored and observed, generating layered works that investigate how id is cast via the remnants of preferred tradition. An attained printmaker, Ford has developed a suite of monotypes at the Robert Blackburn Printmaking Workshop, broaching new formal territory with experimental approaches that defy the medium&#8217s strictures. &#8220I was turned off by the tidiness and fastidiousness of prints,&#8221 Ford recalled of her artwork university instruction but these exceptional operates manifest the identical playful eclecticism she delivers to all she does, combining regular intaglio processes like drypoint with embossed hippie bouquets and swimming pools of impressed watercolor.

At the gallery&#8217s center are a group of system dancefloors produced from tiled Plexi, its bright hues tightly fitted into colourful cladding for these simple wooden constructions. Ford&#8217s penchant for prefabricated and industrial products ties her work to the legacy of minimalism, and these sculptures channel both equally the lower-slung geometries of Robert Morris and the space-age Plexi containers of Donald Judd. The far more direct referent, although, is Felix Gonzalez-Torres&#8217s Untitled (Go-Go Dancing Platform) of 1991, a newborn blue plinth occupied for 5 sweaty minutes for each day by a male dancer in silver lamé very hot pants. Subtler in her queering, Ford also ornaments her platforms to make area for feelings and impulses at odds with Minimalism&#8217s demanding exclusions: flamboyance and woman anger and sadness, drive and a night time out at the club, with graffiti scratched into the rest room mirror that demonstrates us back to ourselves.

At Greene Naftali, New York
until eventually April 9, 2022


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