"As the exhibition title suggests, Stark plays with painting and sculpture by adding or accentuating the dimensions of her work, often transforming two-dimensional objects into three-dimensional ones," the gallery said. "'Squared,' which is composed of thirty-five square sheets of powder coated aluminum, inhabits the wall like a painting. Each sheet is painted a different color and has a concentric square fold that extends outside the picture plane towards the viewer."
"As simple as her experiments may appear when first approached, her pieces function like that of her hue-obsessed predecessors, from Sol Lewitt to Yayoi Kusama. One must spend time with it;let it envelop you and transport you to a more ancient awareness of color and form. (It's no surprise Ernst Haeckel, the multi-talented, turn-of-the-century figure who named thousands of new species while also innovating scientific art, is also among her influences.)"
"They think a machine or laser cutter does it, and can't believe someone would or could cut it by hand. Also sometimes people, think I'm a big acidhead or pothead because of my imagery. While I do occasionally dabble, I came up with the basis for my artwork long before I was ever introduced to these kinds of altered states. I think those shapes and feelings are already inside of us, waiting to come out."
Dimensionality showcased paintings, sculptures, installations, and a major mural that explore added physical depth and perceptual shift. Stark often transforms flat surfaces into projecting forms through folds, layered materials, and color variation. 'Squared' consists of thirty-five powder-coated aluminum sheets, each a different color, with concentric square folds extending toward the viewer. The works demand sustained attention and operate within a lineage of hue-focused practice linked to Sol Lewitt, Yayoi Kusama, and Ernst Haeckel. Stark hand-cuts paper sculptures and maintains that the visual language of her imagery developed independently of psychedelic experiences, though such states can make inner shapes feel more obvious.
Read at Hi-Fructose Magazine - The New Contemporary Art Magazine
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