Chason Matthams / Gracelee Lawrence

Chason Matthams and Gracelee Lawrence | The New Yorker

Reviewed by Johanna Fateman. 


Two solo shows are united by a beguilingly creepy edge. Matthams’s photorealist paintings depict isolated objects: deflated Mylar balloons, a bust of Hercules, corsages in their coffinlike plastic florist containers. The hyper-detailed, glistening quality of “A Hell for Rainbows,” as the suite of canvases here is titled, complements the sanded surfaces of Lawrence’s charmingly perverse 3-D-printed sculptures, on view in the gallery’s lower level. The mannequin-smooth body parts and Brobdingnagian food items have a matte-pastel finish. A boulder-size shallot with a human navel is called “To Eliminate the Risk of Uncontrollable Feelings”; in “An Acute Sense of Physical Famine,” two asparagus spears tiptoe away on their fingertip bases.

— Johanna Fateman


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June 5, 2019
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