Artwork Title: Close to the conscious self

Close to the conscious self, 2014

Abigail Lazkoz

“Anthology of Adverbial Maladjustment” There is room at The Met that has always been a favorite of mine: Gallery 354, that huge exhibition space with a big glass wall, through which one can get a glimpse of the park, devoted to the oversize sculptures of Melanesia. Inside this room, the eyes of the visitor already used to scrutinizing the love for detail in painting, the delicate variations in china, the infinite rarities in every known material displayed on the cabinets and the architectural grandeur of the period rooms, find themselves in a position where their finest retinian abilities become unecessary. All of the sudden, focus and detail loose their relevance in front of these works, whose shapes were conceived to be appreciated from a distance, in bulk. These Totem poles, ceremonial carvings and funerary figures that give nature a human shape and turn humans into quasi-eternal monuments of wood and stone, constitute magnificent examples of the most refined expression of economy, abstraction, synthesis and imagination applied to representation. It is precisely the combination of big, empty spaces and robust presences that I have tried to capture for this exhibition. In my second solo-show for Galeria Bacelos, Madrid, the black and White, big scale drawings abandon the walls and pop out, claiming the status of three-dimensional objects, to interact with a a variety of gadgets that, in fact, compose an objectual diary of my life through this year. All these elements: random, private, ready-made, constructed or invented, dialogue between them, echo each other and interact with the gallery space to create narratives that reflect on concepts recurrent in my work such as: maladjustment and belonging, consensus and dissent, the individual and the gaze of the other. As the adverbial reference of the title might suggest, it is with my customary humorous and ironic spirit that I have tried to approach the combination of hard edge shapes, oversize scales and existential topics that constitute the vocationally heterogeneous core of “Anthology of Adverbial Maladjusment”. Abigail Lazkoz
71 x 57 in

Arthur is a
Digital Museum