Lucy Kim’s practice disrupts photography’s seamless link between referent and image. Using mold-making and casting as the sculptural equivalent to photography, she oil paints over her casts to highlight the image-making impulse. In works focused on the bodies of a geneticist, plastic surgeon, and tness trainer -
occupations involved in manipulating the human body - Kim has taken silicone molds of the subjects and repeatedly cast them in plastic. By attening and stretching, Kim distorts each cast to create visceral variations that explore the perceptual effects of image technology on the human body.
Central to the paintings by Rachel LaBine are questions surrounding legibility and point of view. LaBine shifts between observational and improvised modes of painting to consider the illusions of solid ground and solid self, and the pictures which hold those ideas in place.
Isabel Yellin creates stuffed leatherette anthropomorphic forms with an intense, raw presence. Yellin’s sculptures are reminiscent in shape of exquisite corpses, while the constricting material provides a hide on which light plays very differently than on skin. e fetishistic leatherette also imparts a sensuality that operates on tactile attraction. Yellin’s grotesque, assertive sculptures evoke a world where meaning is constructed and construed through force and vulnerability.