JTT is proud to current I came as shortly as ns heard, a two-person exhibition v sculptor Margaret Wharton (1943 - 2014) and painter Issy hardwood (b.1993). Both Wharton and Wood share an acute sensitivity come the psychological pull of residential objects and the impulse to anthropomorphize them.
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Margaret Wharton is primarily known for deconstructing kitchen chairs v a bandsaw, conscientious separating them into thin class of wood, and reconstructing the pieces into entirely brand-new identities. Her prolific practice started after graduating indigenous the institution of the art Institute in 1975, wherein her skilled life was greatly encouraged by she teachers Richard Keene, ray Yoshida, Jim Zanzi, and the art chronicler Jack Burnham. She was likewise influenced by H.C. Westermann’s carpentry, Lucas Samaras’s 1960s chair transformations, and also Tramp Art—a turn-of-the-century genre of timber carving. Stolen Base, 2008, is a whimsy chain, a type of method that originated as component of Tramp art that involves making a connected chain indigenous a single piece of discovered wood. Each attach of the chain is carved about the next such the there is no a single seam. Lot of her occupational from the so late 1970s and also early 1980s was made just from the products of a solitary chair and, together such, keeps come the ethos of the whimsy chain’s devotion to a single object as material. In her reconstructions, Wharton’s chairs came to be figurative and took ~ above spirits and also psyches of your own. Bipolar, 2011, is a chair reconstructed right into a figure who holds your hands to your head. Its surface ar is covered in compasses. Top top a shelf alongside the object lies a magnet the viewers can wave in prior of the piece, a force that causes the compasses to shed their true north.
Issy Wood’s practice is composed of figurative and still life paint on linen, velvet, and clothing. Hardwood was born in America to British parents, but grew up in London and some that her paintings are very closely cropped portraits the the females you could find walking approximately Mayfair—represented by antique teapots and tableware, strictly cinched torsos, and acrylic nails. Lumber has likewise made plenty of portraits that Joan Rivers, that is no from Mayfair yet shares its obsession v opulent possessions. Few of Wood’s painted objects—such together the teapot in The hen night—come native estate auction catalogs, commonly women’s estates, that are treasure troves the fetishized objects. Timber is interested in the abnormal degree of psychological pull certain opulent objects have actually on certain women. In a recent essay by Margaret Kross, she writes, “Glamour is another protective façade, a type of armor—for anxi- eties about the woman body, economic class, psychological health—and, thus, intimately entwined v the suffer of pain.” Wood’s painting Me in 2007, 2019, is one intimate paint at only 4 x 4 inches, but it powerfully stands next to Wood’s other paintings in this show. The is a bones self-portrait, fleshy skin is wrapped around cheekbones with two rows of this that are little and tight choose a breakable string of pearls.
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The skeleton’s smile is mimicked in an additional work titled The dream / I come as quickly as i heard, 2019, in which overlapping dentures seem come float end a stone relief. Dismembered dentures, like a skeleton’s teeth, have actually an infinite stoic poise—another safety facade because that unknown, covert anxieties.