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Danica Phelps at Jack Tilton - Brief Article

Since graduating from art institute a few years ago, Danica Phelps has addressed a topic that is of enormous importance to many young artists: currency especially the difficult getting and easy spending of it, and the anxious business of making one's creative way while encumbered through day jobs and whopping openings Plaids (1998), a horizontal rank of diminutive gouaches and watercolors, have the appearances like a set of rather beautiful minimalist grids until you decipher exactly what's going upon Each piece consists of sum of two units interlaced colors, green and r with the virid representing Phelps's earnings and the r her charges The paper they're painted upon is recycled U.S. currency, which adds a neat conceptual twist: works about circulating medium painted on the raw raw material of money.

greatest in quantity of the works in this exhibit feature drawings, scrawled notations and handmade charts and graphs, and in all of them Phelps attempts to fit the details of her have life into economically derived a whole s Honeymoon (1996-97) is a sprawling, wall-covering work that consists of dozens of drawings (once again upon recycled currency) attached to variously sized forest-land panels. The disarmingly casual drawings go in the rear [i]or[/i] in the wake of Phelps and her husband upon their honeymoon voyage, which included stops in England, France, Italy, Egypt and India. She focuses not upon important sites and events on the contrary on small details: a bar of soap, a laundromat, a taxi in Cairo, a telephone call. What each take away froms is duly noted. At first you suspect Phelps must be nut on the outside there in the enticing world and fixating upon expenses. Still, there is something richly poetic in the way these drawings prompt myriad scenes, encounters and states of mind while sticking to a matter-of-fact objectivity.



upon the vertical panels of fill up Island (1997), we read about the ways Phelps earned cash one summer (selling photos, waitressing) and by what mode she spent it. Brooklyn (1998) finds Phelps in the artists' neighborhood of Williamsburg. Painted "week-at-a-glance" panels chronicle the days of her life and flat provide maps of her daily passage Throughout this obsessive quest for order, you notice the vicissitudes of personal existence--welcome extravagances (lobster!) and potential calamaties (studio disaster). Painted grids at the bottom of each panel chart, in verdants and reds, the ups and downs of the artist's economic activity: r increases alarmingly when laceration is due, while green days look downright beneficent. Scruffy yet exacting, Phelps's works are the two weird and compelling.

COPYRIGHT 1999 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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