Sarah Sze

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Open: Tue-Sat 11am-7pm (Thu 11am-8pm)

22 Anapiron Polemou Street, 11521, Athens, Greece
Open: Tue-Sat 11am-7pm (Thu 11am-8pm)


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Sarah Sze

to Thu 20 Oct 2022

Artist: Sarah Sze

22 Anapiron Polemou Street, 11521 Sarah Sze

Tue-Sat 11am-7pm (Thu 11am-8pm)


Gagosian presents new and recent works by Sarah Sze. This is her first solo exhibition in Greece and her fourth exhibition with the gallery.

Artworks

Wider Than the Sky (Fallen Sky Series), 2021

Stainless steel
7 1/2 x 72 x 72 in, 19.1 x 182.9 x 182.9 cm
© Sarah Sze. Photo: Rob McKeever. Courtesy Gagosian

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Travelers by Streams and Mountains, 2021

Mixed Media, archival pigment prints, video projector, pendulum
80 x 141 x 115 in, 203.2 x 358.1 x 292.1 cm
© Sarah Sze. Photo: Sarah Sze Studio. Courtesy Gagosian

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The Night Sky is Dark Despite the Vast Number of Stars in the Universe, 2022

Oil paint, acrylic paint, archival paper, acrylic polymers, ink, diabond, aluminum, and wood
40 x 50 x 2 inches 101.6 x 127 x 5.1 cm
© Sarah Sze Photo: Sarah Sze Studio Courtesy Gagosian

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How to Make Numbers Larger and Smaller, 2022

Oil paint, acrylic paint, archival paper, acrylic polymers, ink, diabond, aluminum, and wood
16 x 20 x 1 3/4 inches 40.6 x 50.8 x 4.4 cm
© Sarah Sze Photo: Sarah Sze Studio Courtesy Gagosian

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Proportioned to the Groove (next day still dark), 2019

Clay, wood, archival pigment prints
9 x 15 x 13 inches 22.9 x 38.1 x 33 cm
© Sarah Sze Photo: Sarah Sze Studio Courtesy Gagosian

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Proportioned to the Groove (midnight), 2019

Clay, wood, archival pigment prints
9 1/4 x 16 1/2 x 12 1/2 inches 23.5 x 41.9 x 31.8 cm
© Sarah Sze Photo: Sarah Sze Studio Courtesy Gagosian

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Proportioned to the Groove (afternoon), 2019

Clay, wood, archival pigment prints
8 7/8 x 14 1/2 x 12 7/8 inches 22.5 x 36.8 x 32.7 cm
© Sarah Sze Photo: Sarah Sze Studio Courtesy Gagosian

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Following her presence in Ruins and Fragments at Gagosian Athens earlier this year, this exhibition introduces many additional aspects of Sze’s diverse practice, a spectrum of sculptural propositions and the latest of her oil-and-collage paintings. In employing the full potential of her processes, Sze represents the ephemeral and immaterial in different time scales and durations—from light projections programmed to imply shift and change, to sculptures made of pure paint, fired clay, or stainless steel.

Sze gleans from the physical and digital worlds to create art in two and three dimensions of great intricacy and diversity, inviting minute observation while evoking a macroscopic perspective on the infinite. Limning the borders that separate mediums and activating the space between, she reflects on the overload of virtual experience as a contemporary condition and consequently proposes how we might negotiate real experience in physical space.

Travelers by Streams and Mountains (2021), the latest of Sze’s mysterious and mesmerizing Timekeeper video installations, takes its title from Fan Kuan’s famous Song dynasty painting with its three-plane perspective—near, middle, and far. In Sze’s interpretation, fleeting, disembodied video images track around the room, like searchlights; a pendulum swings from a scaffold in an arc, perpetually marking time and space across a salt-covered arena ringed by process-related flotsam and jetsam, while a Foley score of micro-sounds underscores the live quality of this robotic kinesis.

In recent years, Sze has returned to painting, adapting her processes of sculptural accumulation to the picture plane. In these highly intricate and richly textured paintings, she fuses multiple approaches—some drawn from her active engagement with printmaking—into a dynamic whole. Sze layers oil paint and scraps of images, whether silkscreened or visibly fixed to the surface, into frenetic yet highly nuanced compositions. In freely combining photographically generated imagery and painterly mark making, these restless and errant tableaux evoke the fluidity of the digital realm while retaining the aura of the analog and handmade.

Emily Dickinson’s precociously modern poetry is a source of perpetual inspiration for Sze’s art, which embodies the moment between cohesion and dissolution. The series Proportioned to the Groove (2019) consists of sliced, glazed, and fired clay forms that weigh down torn paper fragments of skies photographed at different times of day or night on low wooden supports. The title, also that of a large-scale installation by Sze in 2005 for the Museum of Contemporary Art Chicago, is derived from a poem Dickinson wrote on the burden and joy of love. “Wider than the Sky” is how the poet described the infinite capacity of the human brain; in Sze’s sculpture from 2021, a parabolic ring of mirror-polished stainless-steel fragments cast individually from clay forms recalls the language of ancient architecture and ruins. The sculpture catches and reflects light, appearing as if already disintegrated. As subtle as Dickinson’s own parsing, Sze’s Wishbone sculptures (2020)—barely perceptible pours of white acrylic paint, dried and suspended on delicate silver chains—punctuate the exhibition.

Sze is currently preparing a solo exhibition at the Solomon R. Guggenheim Museum, New York, in 2023.

Sarah Sze, The Night Sky is Dark Despite the Vast Number of Stars in the Universe, 2022. Oil paint, acrylic paint, archival paper, acrylic polymers, ink, diabond, aluminum, wood 40 x 50 x 2 inches 101.6 x 127 x 5.1 cm © Sarah Sze. Photo: Sarah Sze Studio


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