Brooklyn-based artist Matthew Ronay is best known for his chromatic, handmade wood sculptures that at different turns suggest otherworldly landscapes with futuristic architectures and bodily processes like digestion and aging. For his exhibition in the Nasher’s Lower Level Gallery, Ronay expands the scale of his work to create his largest and most ambitious sculpture to date.
Titled "The Crack, the Swell, an Earth, an Ode," the 23-foot-long sculpture offers a comprehensive introduction to Ronay’s surreal worlds and the various creatures inhabiting them. Representing that tension between abstraction and representation, the various connected elements in The Crack achieve what Ronay describes as “the razor’s edge of familiar and unfamiliar; you think you’re seeing something, but you’re not quite sure.”
Ronay’s sculptures begin as drawings, materialized first on notebook pages in pencil, before going on to become enlarged in charcoal, then translated into three dimensions. This relationship between two and three dimensions is evident in the front-to-back orientation of his sculptures, with the “front” determined by its position in the corresponding drawing. Both the scale and frontality of The Crack relate the sculpture to architecture, with its narrative elements recalling an ancient frieze. An amalgam of nearly three dozen drawings the artist made over the previous three years and containing a multitude of leitmotifs recontextualized and reimagined in new compositions, colors, and textures, Ronay’s "The Crack" represents a culmination of nearly a decade of thinking, making and creating.
A lavishly illustrated catalogue with essays by exhibition curator and Nasher Associate Curator Dr. Leigh Arnold and Clark Art Institute Associate Curator of Contemporary Projects, Robert Wiesenberger, will accompany the exhibition.
Brooklyn-based artist Matthew Ronay is best known for his chromatic, handmade wood sculptures that at different turns suggest otherworldly landscapes with futuristic architectures and bodily processes like digestion and aging. For his exhibition in the Nasher’s Lower Level Gallery, Ronay expands the scale of his work to create his largest and most ambitious sculpture to date.
Titled "The Crack, the Swell, an Earth, an Ode," the 23-foot-long sculpture offers a comprehensive introduction to Ronay’s surreal worlds and the various creatures inhabiting them. Representing that tension between abstraction and representation, the various connected elements in The Crack achieve what Ronay describes as “the razor’s edge of familiar and unfamiliar; you think you’re seeing something, but you’re not quite sure.”
Ronay’s sculptures begin as drawings, materialized first on notebook pages in pencil, before going on to become enlarged in charcoal, then translated into three dimensions. This relationship between two and three dimensions is evident in the front-to-back orientation of his sculptures, with the “front” determined by its position in the corresponding drawing. Both the scale and frontality of The Crack relate the sculpture to architecture, with its narrative elements recalling an ancient frieze. An amalgam of nearly three dozen drawings the artist made over the previous three years and containing a multitude of leitmotifs recontextualized and reimagined in new compositions, colors, and textures, Ronay’s "The Crack" represents a culmination of nearly a decade of thinking, making and creating.
A lavishly illustrated catalogue with essays by exhibition curator and Nasher Associate Curator Dr. Leigh Arnold and Clark Art Institute Associate Curator of Contemporary Projects, Robert Wiesenberger, will accompany the exhibition.
Brooklyn-based artist Matthew Ronay is best known for his chromatic, handmade wood sculptures that at different turns suggest otherworldly landscapes with futuristic architectures and bodily processes like digestion and aging. For his exhibition in the Nasher’s Lower Level Gallery, Ronay expands the scale of his work to create his largest and most ambitious sculpture to date.
Titled "The Crack, the Swell, an Earth, an Ode," the 23-foot-long sculpture offers a comprehensive introduction to Ronay’s surreal worlds and the various creatures inhabiting them. Representing that tension between abstraction and representation, the various connected elements in The Crack achieve what Ronay describes as “the razor’s edge of familiar and unfamiliar; you think you’re seeing something, but you’re not quite sure.”
Ronay’s sculptures begin as drawings, materialized first on notebook pages in pencil, before going on to become enlarged in charcoal, then translated into three dimensions. This relationship between two and three dimensions is evident in the front-to-back orientation of his sculptures, with the “front” determined by its position in the corresponding drawing. Both the scale and frontality of The Crack relate the sculpture to architecture, with its narrative elements recalling an ancient frieze. An amalgam of nearly three dozen drawings the artist made over the previous three years and containing a multitude of leitmotifs recontextualized and reimagined in new compositions, colors, and textures, Ronay’s "The Crack" represents a culmination of nearly a decade of thinking, making and creating.
A lavishly illustrated catalogue with essays by exhibition curator and Nasher Associate Curator Dr. Leigh Arnold and Clark Art Institute Associate Curator of Contemporary Projects, Robert Wiesenberger, will accompany the exhibition.
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