Five paintings in mesh metal arbours overgrowing with ivy, each filled with an icon like altars to a chosen deity kingpins, basketball heroes and roses. How can you remove yourself from your, whatever your origin story is, and become your potential?”Ī play on the art historical gardens of Hironimus Bosch and the iconic stadium Madison Square Garden in New York in this section is dedicated to Barrington’s basketball paintings. I don't know if that's necessarily true for New York anymore, but you know, Audrey Hepburn’s character, she's a 19 year old sex worker who married when she was 14, and somehow she was able to imagine herself at being able to age with elegance and grace, and I think old New York was very much about that. ![]() Yeah, it was like how you could be - whatever your history or your immigration status was – that somehow you could come to this place and imagine yourself as who you want to become, eventually. It was kind of about an old New York or old narrative of New York. “When I read the book and saw Breakfast At Tiffany’s… both played hand in hand. In the next room we are told, “The Sky’s the Limit.” The first has a canopy roof made from perforated Alaïa leather with a stunning rose gold diamond shaped mirror, while next door we bend double and pass through thick, heavy chains into a room, faced by a neon, cardboard and concrete work which evokes Robert Rauschenberg. Facing these we have a series of small shops or indoor stalls. ![]() On one side is a series of wall works, paintings in Tiffany stained glass ranging from scenes from Breakfast at Tiffany’s and a series of paintings, flanked by mini shutters and carved roses almost iconographic in appearance. ![]() Seoul Photos: Charles Duprat © Alvaro Barrington)Īs we enter THE BLOCK, we are in what seems like a covered market with wooden shutters.(Image credit: Courtesy Thaddaeus Ropac gallery, London
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