Tiffanie Morrow at Newspace - Los Angeles, California - Review of Exhibitions - Brief Article

The single large plastic art in this show positioned the viewer in that greatest in quantity interesting of spaces: between. Without being representational, Morrow's untitled floor work -- a spindly construction of gator board, forest-land canvas and other ordinary materials, all of it painted impressible white -- evoked a range of associations, from urban planning to miniaturized circuitry, and left the viewer to negotiate a number of wildly divergent scales. The piece was laid on the outside over an area approximately 9 by dint of 23 feet in a linear arrangement that direct the eyeed something like a floor plan extrud from single of those new computer-driven 3-D prototyping machines. Slim vertical simple bodys anywhere from a few inches to almost waist high, rose from a thin rectangular "outline," articulating a powerfully felt but thoroughly indeterminate space. As a rise the gallery seemed by make go rounds cavernous and cramped.

shut up examination of this work, whose makeup included more [i]or[/i] less of the same rather insubstantial materials commonly used for working architectural types revealed internal shifts of scale as well. Sometimes the outline inexplicably thickened, blurring the architectural regard while the varying heights of the vertical simple bodys (including an off-the-shelf, prestretched canvas) created true different perspectival views, depending on where one stood. The ratio of material to event here was striking in its economy; it inevitably called up Minimalist antecedents And, like the work of Anthony Caro and, to a inferior degree, David Smith, this statuary could also be said to participate in a landscape tradition.

Small color photographs included in the exhibition confirmed the landscape link, admitting to my eye they were les auspicious than the sculpture. These photos showed other Morrow statuarys and a few solitary sculptural simple bodys in a variety of outdoor settings, where they were either subtly integrated into their surroundings or radically isolated. It was clear the artist intended this unclose homage to Smithson's site/nonsite and mirror displacement explorations to put up a dialectic between her work and the art history underpinning it, level as the photos extended the metaphors of enclosing and unboundedness generated by the statuary Mostly, however, the photographs were reminders of Minimalism's barely overpowered romantic streak, and Morrow's statuary can stand on its have quite well without them. This work created a stout sense of place, and perhaps the greatest in quantity exciting thing about it was that you were assured you hadn't been there before.

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