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Winter

Winter, an exhibition of new work by the conceptual photographer Sandy Skoglund,—ten years in the making—is a multifaceted project that includes sculpture, installation, and photography. Portions of Skoglund’s immersive tableau is on view in the gallery, along with its final photographic iteration.

Skoglund describes Winter as “a study in perseverance and persistence, an artificial landscape celebrating the beautiful and frightening qualities of the coldest season.” In the photographic image, a man, woman, and child punctuate an icy blue scene. They are inside of an iceberg, perhaps, surrounded by its craggy walls. Standing pensive with hands in the pockets of their winter coats, only the child, a red-headed girl, looks out toward the viewer. The trio is joined in this fantastical setting by a cluster of three snowflake-emblazoned owls and a female figure that seems to have frozen mid-slumber. The imagery evolved from Skoglund’s interest in similarity and difference among snowflakes. Her fascination with the appearance of correspondence versus the reality of difference extends from earlier investigations of the liminal territory between the natural and the artificial, or order and chaos. Through her constructed imagery, Skoglund explores the space between what the human eye and the camera can see.

Since the late 1970s, Skoglund has been celebrated for her panoramic installations—entire environments that she meticulously designs, constructs, and then re-visualizes photographically. Skoglund likens Winter to “a very slow shutter speed on a camera. Time stands still but also inches forward.” Relentlessly inventive, Skoglund challenges herself to experiment with new creative technologies, always in search of the medium best suited for her message. For Winter, which was part of a larger project on the four seasons, years of experimenting with various forms of clay modeling and 3D-printing led to the ultimate inclusion of digitally-cut metal snowflakes bearing ultraviolet cured ink, and the computer-sculpted figure and owls.

A selection of photographs from the 1970s and 1980s, including Radioactive Cats (1980), will also be on view.

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Date

Jan 09 - Mar 07, 2020

Contact

info@ryanleegallery.com >

Photos

Installation view of Winter

RYAN LEE Gallery, New York

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Installation view of Winter

RYAN LEE Gallery, New York

Artworks

Sandy Skoglund > <

Winter

Blue Ice

Owl #3

Owl #2

Owl #1

Bronze Owl #3

Bronze Owl #2

Bronze Owl #1

Blue Bulb from True Fiction Two

Circumstances of Appearance from True Fiction Two

Errors of the Efficient Mind from True Fiction Two

Laws of Interior Design from True Fiction Two

Parallel Thinking from True Fiction Two

Purple Blender from True Fiction Two

Semiotics of Surprise from True Fiction Two

The Sound of Food from True Fiction Two

Testimony in Tile from True Fiction Two

The Value of Wasted Time from True Fiction Two

Radioactive Cats

Accessories

Spoons

Knees in Tub from Reflections in a Mobile Home

Looking through a Tomato from Reflections in a Mobile Home

Pink Sink from Reflections in a Mobile Home

Toaster from Reflections in a Mobile Home

Sandy Skoglund > <

Winter

Blue Ice

Owl #3

Owl #2

Owl #1

Bronze Owl #3

Bronze Owl #2

Bronze Owl #1

Blue Bulb from True Fiction Two

Circumstances of Appearance from True Fiction Two

Errors of the Efficient Mind from True Fiction Two

Laws of Interior Design from True Fiction Two

Parallel Thinking from True Fiction Two

Purple Blender from True Fiction Two

Semiotics of Surprise from True Fiction Two

The Sound of Food from True Fiction Two

Testimony in Tile from True Fiction Two

The Value of Wasted Time from True Fiction Two

Radioactive Cats

Accessories

Spoons

Knees in Tub from Reflections in a Mobile Home

Looking through a Tomato from Reflections in a Mobile Home

Pink Sink from Reflections in a Mobile Home

Toaster from Reflections in a Mobile Home

Artists