Maria Lynch, Marianna Olinger
Voids, Vacuums and Ghosts
The Yard – Columbus Circle, New York
Opening January 17, 2018 5:30 pm
please RSVP here
January 17 – April 14, 2018
SARAHCROWN is pleased to present Voids, Vacuums and Ghosts, a two-person exhibition conceived for the public spaces at The Yard–Columbus Circle featuring works by Maria Lynch and Marianna Olinger.
There is an emotional world and an objective world, and at times the two mesh. Sometimes, what we consider to be real is illusory, or has an illusory element and often there’s more deep truth in the unreal than there is in the real. Sometimes we confuse emptiness with inexistence and forget that the modern vacuum can actually be active, differentiated, and dynamical. Questions about the void and the vacuum, the tangible and the phantom, have fascinated artists and scientist of all ages. Albrecht Durer, Kasimir Malevich, Albrecht Einstein, Richard Feyman, Higgs or Lucio Fontana, just to name a few, investigated this topic extensively and showed through art, images, and statistics how these apparently empty spaces are actually filled with most profound physical content and intellectual concepts.
The exhibition Voids, Vacuums and Ghosts revolves around these ideas and showcases works that investigate these questions, in a visually different yet conceptually close, manner.
Marianna Olinger’s print series started in 2014, at a moment in which the creative manipulation of matter through experimentation and chance were becoming prominent to her art practice. By using ready-made disposable shapes to partially block a field of color on an inked plate, Olinger creates prints that play with the existence of something by highlighting its absence, the evident and the inconspicuous. In its full being and its remembrance, they come through like the void and the ghosts.
Maria Lynch’s new series of works investigate the conceptual space of painting, existence and somehow spirituality. Informed by her older series of canvases and sculptures, which focused on deep emotional states and dynamics, these new works juxtapose the empty and the filled space and outline how seemingly opposite or contrary forces may actually be complementary, interconnected and interdependent in the natural world. Playing not only with the materiality (or immateriality) of the paint itself, but also with the concepts of color (primary colors) and non-color (black and white), these works outline also the endless battle of decision making about what is definite and what has still to be done, about what is an apparent void and what is a filled empty space.