SOL'SAX and Zoe Pettijohn

January 7th– February 3rd, 2004
Opening Reception: Wednesday, January 7, 6 - 8pm

Kenny Schachter conTEMPorary
14 Charles Lane, New York NY 10014
T 212 807 6669 F 212 645 0703
HOURS: Tues-Sat 10 am – 6 pm, Sun 11 am-6 pm


SOL’SAX: Chain Link Theory Series

Kenny Schachter conTEMPorary proudly presents the “Chain Link Theory Series,” a collection of recent works by Brooklyn-based artist, SOL’SAX.

SOL’SAX received his BFA from the Cooper Union in 1992. As a Phillip Morris Fellow, he received his MFA from Yale University in 1995. Since 1991, he has had 9 solo shows and has been included in 27 group shows.

Chain link in its many forms serves as the physical and symbolic fodder for SOL’SAX’s latest series. In works that defy categorization, the viewer is confronted with his concepts of the chain link as a D-fence and an O-fence, and one sees him working through what he calls the You’re-a-peon and A-free-kin mentalities apparent in our culture. Chain link surrounds lots for sale, basketball courts, prison yards, and schoolyards. It keeps people in and it keeps people out. It means segregation, but also solidarity. It’s the real bonds of slavery and the metaphysical linkage between peoples. Iron, gold, new, and old. It’s the bling-bling of chain link jewelry and the clink-clink of the chain gang.

ZOE PETTIJOHN: Repeating Landscapes and Patterned Sieves

On view in the upstairs space are a number of recent works by Zoe Pettijohn.

Pettijohn received her BFA from Cooper Union in 1995 and she has been included in 11 group shows over the last three years. Between “Painted Repeats,” at the Arts Club of Washington and an upcoming show at Mixed Greens, conTEMPorary is pleased to host her second solo exhibition.

“Repeating Landscapes and Patterned Sieves” refers to two related series of gouaches. One fabric piece is included as well. In the former series, “landscapes are worked into a repeating frame that evokes the tendency to freeze and replay a small clip of memory.” Thus, at the periphery of each singular image are the beginnings of its repeat. In what resemble extraordinary swathes of wallpaper, patterned fabric, or microfilm, the gaze is frozen scuttling between similar images. The large fabric piece is based on the smaller “Las Vegas Repeat.” Ironed together with a fabric fixative are hundreds and hundreds of bits of fabric, creating a slightly offset, slightly translucent, but beautifully lush facsimile of the City of Sin.

The “Patterned Sieves” employ “weaving structures to knit two to three images together, suggesting the way related memories are stored in the mind.” Common fabric patterns imbued with Pettijohn’s personal photographs are painstakingly woven together in gouache. They repeat like the landscapes yet they are more complex and pleasurably disorienting.

Textiles have a great historical and textual significance for Pettijohn, but the formal conventions of fabric production are incorporated into her work as well. As she states, “the works are all designed to be produced as printed fabric, already separated into the standard 12 colors.” For Pettijohn, it seems the practical can be beautiful, but the beautiful should be practical as well.

—Benjamin Berlow







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