"Solid Void," Reynier Leyva Novo's first solo exhibition in the United States, features an installation of 500 plaster-cast interiors of vessels and a coordinating wall installation comprised of embossed prints made from metal casts of the plaster sculptures. As art historian and curator Gerardo Mosquera writes, "Novo cast the containers’ voids to represent them, to make present their very specific absences. But by so doing, as the show’s title indicates, he not only transformed the void into its opposite, a solid object, but also underlined its ontological entity by taking its imprint in a double, emphatic representation that acts as a sort of proof of the void’s existence." Novo's ordered, repetitive organization of the vessels and imbuing of the void with geometry are indicative of his minimalist and formalist approach to conceptual art.
Following the opening reception, the exhibit will be on display until October 20.
"Solid Void," Reynier Leyva Novo's first solo exhibition in the United States, features an installation of 500 plaster-cast interiors of vessels and a coordinating wall installation comprised of embossed prints made from metal casts of the plaster sculptures. As art historian and curator Gerardo Mosquera writes, "Novo cast the containers’ voids to represent them, to make present their very specific absences. But by so doing, as the show’s title indicates, he not only transformed the void into its opposite, a solid object, but also underlined its ontological entity by taking its imprint in a double, emphatic representation that acts as a sort of proof of the void’s existence." Novo's ordered, repetitive organization of the vessels and imbuing of the void with geometry are indicative of his minimalist and formalist approach to conceptual art.
Following the opening reception, the exhibit will be on display until October 20.
"Solid Void," Reynier Leyva Novo's first solo exhibition in the United States, features an installation of 500 plaster-cast interiors of vessels and a coordinating wall installation comprised of embossed prints made from metal casts of the plaster sculptures. As art historian and curator Gerardo Mosquera writes, "Novo cast the containers’ voids to represent them, to make present their very specific absences. But by so doing, as the show’s title indicates, he not only transformed the void into its opposite, a solid object, but also underlined its ontological entity by taking its imprint in a double, emphatic representation that acts as a sort of proof of the void’s existence." Novo's ordered, repetitive organization of the vessels and imbuing of the void with geometry are indicative of his minimalist and formalist approach to conceptual art.
Following the opening reception, the exhibit will be on display until October 20.