An exhibition of new paintings by Lizzie Gill. Gill’s psychological still lifes concern themselves with dormancy, disuse, and decay through the inert animation of stoneware. Playing upon “showing taste,” the compositions syncretically marry the illusionistic depth of acrylic paint and photographic image transfers with dimensional elements of marble dust emulsion piped into place with a confectioner’s bag. As if in a merry-go-round, a matrilineal inheritance of caddies, amphorae, demitasses, and animal figurines parades through the paintings in gelid Wedgwood tones. In days past, dinner and tea were unthinkable without such ceremonious vessels, the performative labor of the place setting. Now, the air gathers close around them with unbroken silence. They survey from the sidelines like antiquated figures of state. Riders and mounts trot through the Jasperware grounds of Gill’s painted vessels, dark and light reversed in their image-transferred visages. The English carousel descends from the Latin carrus (‘two-wheeled vehicle’) and the Italian carro (‘chariot’) to the French carrousel and Italian carosello: a joust, a tilting match, a game of war. The word gathered syllables even as its signified devolved from martial drills and regal pageants to carnival diversions and playthings. From charger to cob, palfrey to thoroughbred, mustang to rosinback, carousel jumper to rocking horse, this history slouches from activity to artifice, beasts of burden ritualistically wrung of use on spectacle and stunts.
Manhattan, New York, NY