About the Work
“My artmaking process often involves scribbling out ideas on paper. If I don’t like where an initial idea is headed, I’ll crumple it up and toss it into the wastebasket. I enjoy the timing and elegant gesture of this action — scoring regardless even if I’ve made a dud. On occasion, however, something from a discarded drawing will catch my eye and I’ll retrieve it from the bin, smooth its wrinkled creases, and use it as the basis for a new creation.” — Amy Feldman
Are precious uncertainties lost in the quest for finality? In the endgame, how present is the unwitnessed process; the breathlessly jotted down inspiration and solitary nights in the studio? Feldman’s paintings communicate without saying a word. Using the visual language of abstraction within her characteristic restrained shades-of-gray palette, Feldman channels the rigor of draftsmanship alongside improvisational risks, resulting in smoke-like echoes of paused gestures, swelling snapshots of spontaneous expression. The compositions are geometric in nature but forgo harshness of line in favor of more organic, amoebic shapes, creating the sense we are perceiving hyper close-ups of something much smaller — cellular, even.
Our new collaboration with Feldman, HAPPY HOOP (2023), a hand-finished series of 12, features a bold undulation that suggests an hourglass shape, referencing the body and its nuanced ability to change over time, as if the form were twirling inside a Hula Hoop with just the right amount of pressure to continuously sustain the pleasure of movement.
Drawing connections with her larger practice, Feldman further explains HAPPY HOOP's conceptual undertones:
“A scribble mark is handwriting in its rawest form and offers a counter to the mass-produced by favoring something physically primal over the sheen of image duplication. The printed trompe l'oeil ground is a nod to cubist and surrealist interventions that pique the viewer's willingness to accept fiction as reality — to embrace the uncanny. Presenting the actual paper, crumpled up, within a print of itself, engages this suspension of disbelief. The viewer may wish to believe the paper is actually crumpled though the image is clearly printed. The dissonance between the printed and hand-drawn marks toy with authenticity of gesture, and illuminates the paradoxical relationship between the physical and formal, the psychic and conceptual nature of my work. I’m interested in how this type of poetic faith relates to making art in a moment when the idea of truth — its existence/non-existence — has become increasingly challenging to decipher.”
Amy Feldman (b. 1981, New Windsor, NY) has held solo exhibitions at Galerie Eva Presenhuber (Zürich and New York), The Journal (New York), 39 Great Jones (New York) curated by Ugo Rondinone, Anna Bohman (Stockholm), James Cohan Gallery (New York), Blain Southern (Berlin), Corbett vs. Dempsey (Chicago), Brand New Gallery (Milan), Ratio 3 (San Francisco) and Sorry We're Closed (Brussels), among others. Select group exhibitions include presentation at Kunstmuseum Schloss Derneburg, Hall Art Foundation (Holle, Germany), Museum of Contemporary Art Chicago, The Sheldon Museum of Art (Lincoln, NE), Kunstmuseum Bonn (Bonn, Germany), Palazzo Fruscione Salerno (Salerno, Italy), and Musée d’art Moderne Saint-Étienne (Saint-Étienne, France). Feldman lives and works in Brooklyn, NY.
Authentication & Resale
Signed and dated by the artist en verso. This work is also accompanied by a Certificate of Authenticity signed and numbered by Exhibition A.
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