David Wight

XXL Emerald Genesis

1994

Alex Gabriel Bernstein (b. 1972) Large Blue Half Moon, 2023 Cast and cut glass, fused steel 22 x 42 x 5 in

Original Murano glass vase with inclusions of avventurina, (a mixture of glass and copper), colorful glass rods and other patches, Angelo Rinaldi, Murano 1975. Etched surface. It wea...

Thick, transparent glass with immersed stripes of red, yellow, blue and green, Fulvio Bianconi for Venini S.p.a., Murano 1991. Signed, dated, original label and original box. H. 12.7...

Sunrise, 2023

Medium Champagne Classic Wave, 2023

Red Vase, 2023

Doug Aitken EveryThing, 2015 Mirror, Fibreglass & resin 92.5 x 119.5 x 12.5 inches Edition of 4 plus 2 AP's Provenance: NB: Available on sale

medium: installation, table, mirror, 20 glass and metal beaded clay sculptures Esperanza Cortés is a Colombian born multidisciplinary artist based in New York City. Cortés has been ...

Since the 1980s, Eric Fischl (b. 1948) has been renowned internationally as one of the most daring and distinct figurative artists. Over the course of his career, Fischl has branched...

Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...

Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...

Robert Mickelsen Parasol, 2009 Borosilicate glass 33h x 34w x 34d in