23 Apr 2009 to 22 May 2009
Hours : Tuesday through Saturday, 10 - 6 pm
Robert Miller Gallery
524 West 26th Street
NY 10001
New York, NY
New York
North America
p: 1 212.366.4774
m:
f: 1 212.366.4454
w: www.robertmillergallery.com
Dustin Yellin, The Invisible Man, 2009 Resin, acrylic, and ink 71.8 x 23.8 x 13.2 in
Dustin Yellin: Dust in the Brain Attic Apr 23 - May 22, 2009
Reception for the artist, Thursday, April 23, 2009, 6-8 pm Robert Miller Gallery is pleased to present an exhibition of new sculptures by Dustin Yellin.
His third exhibition at the gallery includes work signaling an innovative new direction for the artist - sculptures based on CAT scans and magnetic resonance imaging (MRI) showcasing skeletal, circulatory, and nervous systems. Transforming these dry science based diagnostic images, Yellin creates vivid and intricate life-sized and over life-sized renderings of human, tortoise, and orangutan spines, skulls, hearts, and entire skeletons fusing the intentions and aims of both what is traditionally thought of as art, and what is conventionally called science.
An installation of large scale works containing bright green vines topped by psychedelically colored faces, fish and flowers titled Extraterrestrial Terrain forms part of this exhibition as well making an amusing pocket park in the gallery. This installation will be accompanied by a group of the artist�s idiosyncratic Eoandromeda or lenses, installed on the floor, resembling giant soap bubbles with plant forms shimmering beneath the surface.
Yellin�s signature organic forms, will also be included (revealing the artist as a rigorous taxonomist and ardent interpreter of the staggering beauty of the natural world.) His Phykos (kelp fronds) and Arboreum (conifer trees) soar in scale to new heights � 8 to 9 feet. His sculptures of undulating sea creatures - octopi and cnidaria � once so diminutive in scale have been created in larger dimensions as well.
Yellin�s work focuses on the relationship between drawing, sculpture, and digital media as each piece is composed of two-dimensional layers that combine to form a three-dimensional illusion. He creates sculptures of multiple layers of acrylic paint, India ink, computer generated transfers and other media suspended in resin.
Professor Stefanos Geroulanos, from NYU expounds,
Yellin�s works set the paint in a constant struggle against the resin. It would be wrong to suggest merely that, as the resin layers fuse and hold the ink in place, the resin becomes a �container� and nothing more. When seeing the work one is instead struck by the fact that the painted shapes hold a dimensional complexity that the resin box cannot compete with; we never discard the box altogether, but we quickly sense its shape and quality and find ourselves absorbed, instead, by the shape inside. And what is more, one is never sure if one is staring at the resin box as a whole or the shape �within,� if the resin is a container or the sculpture itself, if its transparency is not merely an illusion for exhibiting the object. What holds the image in the resin and the resin that has become a negative space for a shape is precisely the three-dimensional character the object receives from its depth.
A catalogue with an essay by Geroulanos titled �Our Suspended Life� accompanies the exhibition.
Yellin was born in 1975 and lives and works in New York. He recently moved his studio to an old decommissioned printing works in Red Hook, Brooklyn. This space, the future site for a residency program and an exhibition space, functions as film set and studios for a growing community of painters, photographers, and filmmakers.
For more information, please contact the gallery or visit robertmillergallery.com.
