Tanya Bonakdar Gallery is pleased to present Sleeping Chimneys. Dead Stars., a solo exhibition of new works by Martin Boyce on view Wednesday, May 3 through June 10, 2017. In his fourth solo exhibition at the gallery, Boyce presents new photographs, installations and sculptural works that investigate the physical and psychological landscapes that occupy our collective consciousness. Culling together an array of references from masks to cityscapes, from mass-produced design objects to a forest of denuded trees, Boyce’s work explores memory and timelessness. Images and objects move seamlessly between past, present and future, playing roles in precisely staged, atmospheric narratives. Boundaries collapse between the natural and the manmade, as Boyce contemplates the ambient poetry of the everyday.
For nearly two decades, Boyce has incorporated a palette of shapes and forms that frequently recall familiar structures from the built environment. In Sleeping Chimneys. Dead Stars., the artist’s acute gaze gradually transitions from the urban landscape to the domestic realm, conjuring an imagined dream-like environment. Like de Chirico’s worn puzzle pieces, Boyce brings together a lexicon of familiar forms—a door, a lamp, a light switch, a fireplace, a chimney—amplifying them within the gallery space.
Upon entering the gallery, a sculpture entitled There was a Door, welcomes visitors. The peephole is partially covered by a defensive bronze grill, suggesting the tension that lies between the external world and an interior that is left unseen. The angled pattern recalls the concrete trees designed by French sculptors Joël and Jan Martel, which have long been a source of inspiration in Boyce’s practice. For Boyce, these Cubist trees “represent a perfect collapse of architecture and nature.” Serving as the gateway into the exhibition, There was a Door exemplifies Boyce’s ongoing exploration of portals and transitions.
In the gallery’s main space, four towering geometric ‘Sleeping Chimney’ sculptures stand sentry in a darkened room, creating the illusion of a nocturnal rooftop landscape. Each Chimney is furnished with shuttered vent holes and capped with a TV aerial stretching to the ceiling. The closed vent holes, like resting eyelids, coat the scene with a sense of suspended time, while the antennas, in their solitude, seem to transmit the lost dreams of the imagined households below out into the crisp night sky.
Disrupting the illusion of the rooftop terrain, several still-life vignettes emerge, blending interior and exterior worlds and further detaching the setting from any identifiable period or place. Made of reconfigured domestic icons, each scene is framed by its own decorative molding. In the corner, Still Life Landscape with Sun is anchored by a triangular blue steel table. On top, a geometric bird-like mask sits on an armature recalling the ghost of modernism—so present and haunting in Boyce’s oeuvre. A circular yellow lamp hangs above the table, like a darkened sun emitting no light on the scene—‘A Dead Star.’ Opposite the lamp, a cast bronze light switch pays homage to the missing light bulb.
Past the hollowed frame, a painted door floats horizontally low to the ground. Now rendered as a bed, the door becomes a place for repose and reverie. A brass lamp rests on top. The lamp’s rigid post now wilts softly like a reclining figure, it’s pink fringes hang from the shade and drape like hair cascading gently on white sheets. Further exploring the contradictions that inform our perception, Dead Star (Reclining) dissolves the distinction between the constructed and the natural worlds. The familiar, often overlooked, forms have been given new life as they are expropriated from their original functions, altered, and mutated. The door becomes a bed, the bed becomes a door.
In the project space, Boyce presents twenty-five new landscape photographs stemming from his ongoing series entitled, A Partial Eclipse. Capturing subtle, peripheral scenes, these images are untied to any specific time or place. Created by a process of darkening and desaturation, this series of somber crepuscular moments appear as if the light has been stolen from them, silently waiting for a glimmer to resurface.
The exhibition culminates with a monumental fireplace sculpture on a freestanding wall in the back of the gallery. Its soft, weathered cast tiles demonstrate two of the artists’ signature patterns—the diagonal, grid and the concrete trees of the Martel brothers. A nod towards the relationship between nature and architecture, a geometric vine crawls up the gridded facade. Within the hearth, a miniature landscape appears as a tiny stage set. A shaft of light hits the back wall and spills onto the interior floor and a tiny blue staircase ascends toward the unknown. The show is now over, the audience gets up to leave their seats.