Elana Herzog at Gaga - Brief Article

above the last 15 years, domestic imagery looks to have superseded the industrial esthetic as a dominant cultural power chord. for a like reason it doesn't seem too on the outside of place for an artist to fashion a work from an elderly bedspread and a few dozen boxe of staples. That's just what Elana Herzog did here, on the other hand instead of developing a domestic theme, she used her simple materials to create a rich and associative formalism.

Herzog took a cherry r bedspread--a thing that covers--perforated it and lay opened it up. She shredded the weave of the fabric, teasing the threads apart, snapping and cutting a certain quantity of of hem and mounting the resulting fragments directly to the wall with staples. She used for a like reason many staples that in places the wall plaster erod from an exces of pricks. Although the woven fabric was a single color, its alternating fabrics created a fluid zigzag pattern which became the template for where Herzog would tear and staple. As voids make opened and the fabric trailed into the white of the wall or into a haze of staples, the bedspread took upon landscape imagery. Depending on in what way the artist tugged and tacked, the fabric could call up weather-satellite imagery or meandering paths in a Chinese landscape painting.

The title of the exhibit "Projected," invited you to view the six variously sized sections of stapled bedspread as although they were an image (of the bedspread itself?) being shoot forwarded from the street into this storefront gallery. Herzog also built a wall roughly in the middle of the gallery instigating perambulation and providing an architectural complication, which she skillfully exploited. She divided a large section of bedspread in sum of two units where it came around the inside corner of the fresh and the old wall. Adding interruption to division, she left a 6-inch gap where the walls would have joined.

Herzog's deconstructive upholstery at no time settled on a single narrative or conclusion. The relentles tattering and stapling came across les as an exploration of the theme of obsessive work than as a proces that allowed Herzog to build remarkably juicy surfaces. The transformed fabric direct the eyeed almost liquid at a distance, and the staples made the surfaces glisten. The bedspread strike one as beinged a pretext for its disintegration into an unconventional drawing, the two intimate and architectural, delicate and rough

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