Thursday, February 3, 2011

Uplifting & Inexplicably Beautiful

Petah Coyne creates numerous bewitching masterpieces using mediums such as silk flowers, feathers, wooden cradle, acrylic paint, black spray paint, silk/rayon velvet, formulated wax, metal hardware, pear-headed hat pins, cable nuts, thread, jaw to jaw swivels, quick-link shackles, wire, chicken wire fencing, chandelier, velcro, taxidermy, cable, pigment, felt, wood and plywood. Temporarily housed in MASS MoCa's gallery space, these marvelous Victorian style sculpture/installations bring out a whimsical buoyant feel against the cold and heavy winter. However, as eerie as it later gets, the exhibition surveys inherent tensions between vulnerability and aggression, innocence and seduction, beauty and decadence, as well as life and death.

*Petah Coyne, Untitled #720 (Eguchi's Ghost), 1992/2007*
* Petah Coyne, Untitled #1093 (Buddha Boy), 2001-2003*
* Petah Coyne, Untitled #1240 (Black Cloud), 1990*
*Petah Coyne, Untiled #1180 (Beatrice), 2003-2008*

Petah Coyne: Everything That Rises Must Converge curated by Denise Markonish is considered to be the largest retrospective of the artist's work to date and it will be closing this month, February 2011. To read a Wall Street Journal review on the exhibition, "Elusive yet Expressive" please click here.

Source: Art Tattler | Exhibiting at MASS MoCa

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