-
Artworks
Open a larger version of the following image in a popup:
Subliminal Horizons, Installation View, Alexander Gray Associates, New York (2021).
Open a larger version of the following image in a popup:
Subliminal Horizons, Installation View, Alexander Gray Associates, New York (2021).
Open a larger version of the following image in a popup:
Subliminal Horizons, Installation View, Alexander Gray Associates, New York (2021).
Open a larger version of the following image in a popup:
Subliminal Horizons, Installation View, Alexander Gray Associates, New York (2021).
Diana Al-Hadid
Styx and Stones, 2021Polymer gypsum, fiberglass, steel, plaster, pigment54 x 95 x 3 1/2 in (137 x 241 x 3 1/2 cm)DA004Further images
-
(View a larger image of thumbnail 1
)
-
(View a larger image of thumbnail 2
)
-
(View a larger image of thumbnail 3
)
-
(View a larger image of thumbnail 4
)
-
(View a larger image of thumbnail 5
)
-
(View a larger image of thumbnail 6
)
-
(View a larger image of thumbnail 7
)
-
(View a larger image of thumbnail 8
)
-
(View a larger image of thumbnail 9
)
-
(View a larger image of thumbnail 10
)
-
(View a larger image of thumbnail 11
)
Diana Al-Hadid's works probe the perceptions and possibilities of scale, material and medium. Balanced at a vanishingly subtle point of connection between gestural elegance and muscular physicality, Al-Hadid's panel works...Diana Al-Hadid's works probe the perceptions and possibilities of scale, material and medium. Balanced at a vanishingly subtle point of connection between gestural elegance and muscular physicality, Al-Hadid's panel works bring the heft of sculpture into the two-dimensional plane. Al-Hadid makes the panel works via an additive drip process in which she meticulously layers paint with polymer gypsum.
As substantial and assured as it is delicate and ornate Styx and Stones reads at first like a two-dimensional work. Seen from a distance in a gallery space, it functions like a painting, even as its careful accumulation of materials hints at its structural complexity. Up close, the work contains spaces of absence: actual gaps between areas of the material where one could reach a finger through and touch the wall. Al-Hadid emphasizes this interplay between presence and absence, surface and depth, by deploying drips of paint from the top of the work with a determined verticality, so that the viewer experiences Styx and Stones as an oscillation between painting and sculpture.
1of 3 -
(View a larger image of thumbnail 1
)
