on Pull My Daisy at •

The group show at Lisa Ruyter’s new gallery • proves appropriately provocative, given it is the namesake of the 1959 beat film by Robert Frank and Alfred Leslie, ‘Pull My Daisy’.  Like the film, this exhibition combines works from artists with considerable street credit.  With varying modes of current consciousness, the works of Lisa Beck, Jessica Craig-Martin, Francesca Di Mattio, Nicole Eisenman, Sissel Kardel, Laleh Khorramian, Julie Ryan and Garth Weiser are pitted against one another, making space to define each one’s logic.

Fearless in complexity is Francesca Di Mattio’s painting and collage.  Using black and white like a full spectrum palette, she unveils a timeless spatial love affair and a two-faced jester dreamboat.  Equally full-on are Jessica Craig-Martin’s gems triggering the inner voyeur.  Her penchant for tightly cropped high-gloss shots, slip in lamé lepord print and makeup wonders.  Likewise referencing pattern are Julie Ryan’s works on paper.  In her drawings and paintings, Ryan plays with combines and locates abstraction in an immediate setting.  The paintings of Lisa Beck carry on a dialogue between space and design depicting landscapes with lyrical circular forms.  The wall painting and canvas work from Garth Weiser fold-in his duly celebrated casual hard-edged air to the preceding painterly and conceptual signatures.  His blue, white, and black flat-on-flat works bring rythm and volume to this mix.

The large projection of Laleh Khorramian’s animation is wonderful.  Portraying dance, architecture, space and sex with the skins of two oranges, her’s is a terrific work.  Masterful to the same degree are Nicole Eisenman’s figure paintings.  Somewhat raw and somewhat poetic, the female and male portrait paintings graze being implicit proverbs.  In Sissel Kardel’s paintings and drawings the figure is also imperative.  Evenly balanced by the ornate wild landscape, Kardel’s nude self-portraits bring rapture to sight.

Its that this is a particular exhibition, where each artist is given the space to speak in her or his own tongue.  It follows Jack Kerouac’s text in the aforementioned film, “well, lets get on then.  Let em be courtly and polite as befits poets.  So, all the poets meet.”

, Kantgasse 3/20, 1010 Wien

November 19 – January 8, 2011

– Ezara Spangl

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