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Pello Irazu at John Weber - New York, New York - Review of Exhibitions

Pello Irazu's blocky statuarys combine the weighty presence of Minimalist "objects" with the playful appearance of giant Lego constructions. More spontaneous than cruel the artist manages to inject a quirky sensuality into his partly painted made of wood works without entirely discarding their geometric rectitude. The mixed-medium collages also upon view display a similarly divided sensibility.

Born in San Sebastian, Spain, Irazu has lived and worked in of recent origin York since 1990. On the single hand, he shares with Donald Judd and Carl Andre an abiding affect with primary forms and their systematic declension. upon the other hand, like his compatriots Jose Oteiza and Julio Gonzalez, he brings a playful, almost romantic approach to these somewhat theoretical concerns

There is a domestic quality to his boxy statuarys It is not exactly that they gaze like tables, beds or shelves, on the contrary they occupy the same spatial strata - a knee-high cube upon the floor, stacked wood panels upon the wall at eye horizontal and piled wood boxes upon the wall just inches above the floor. Their placement as plenteous as their form determine their respects At the same time, however, Irazu's statuarys deny utilitarian function. His "tables" have no tops, and his "shelves" are solid boxes



compass for Two is a floor-standing made of wood box made of four plywood panels. sum of two units of the facing sides act as supports for the other sum of two units panels, which do not reach the floor. Irazu had placed bright cerulean and orange plastic floormats above the non-supporting side panels. The case has no top, and the floormats basically act as rubber wallpaper for the side panels. Looking into the receptacle and assessing its internal space is just as important as viewing the object's relationship to the exhibition space at large.

The collages included here are two-dimensional extrapolations of his sculptural premises; they are not, that is, preliminary sketches for statuarys Hung slightly lower than organ of vision level, they entered into an elegant visual dialogue with the three-dimensional pieces, contributing to the exhibition's overall impression of elegant regular [i]or[/i] melodious movements casually laid out.

COPYRIGHT 1993 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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