Marianne
Boesky
Gallery
is
pleased
to
present
an
exhibition
of
new
work
by
Andisheh
Avini,
the
artist’s
second
solo
show
at
the
gallery.
The
exhibition
will
take
place
at
the
gallery’s
Upper
East
Side
location
at
118
East
64th
Street
between
Park
and
Lexington
Avenues,
from
September
24
through
October
31,
2015.
Andisheh
Avini’s
practice
thrives
on
the
juxtaposition
of
patterns,
materials
and
East/West
influences,
employing
the
ensuing
collisions
to
challenge
the
symbolic
implication
of
imagery
and
to
explore
the
visual
experience
of
memory.
For
this
exhibition,
Avini
will
utilize
the
townhouse’s
unique
architecture
to
expand
upon
his
particular
interest
in
the
domestic
realm,
re-staging
and
challenging
his
visual
memories
with
compelling
tableaux
vivants
that
allude
to
the
past
while
remaining
firmly
rooted
in
the
present.
As
a
follow-up
to
his
2014
solo
show
at
the
gallery’s
Chelsea
location
(where
he
installed
carpet
to
evoke
the
feeling
of
a
child
observing
the
outside
world
from
the
safety
of
home),
here
he
will
broaden
this
installation
aspect
of
his
practice
and
blur
the
lines
between
exhibition
and
living
space.
Throughout
the
townhouse’s
three
floors,
Avini
will
arrange
examples
of
his
serial
practice
into
physical
installations
showcasing
the
extent
of
the
artist’s
recent
explorations
in
pattern,
appropriation
and
medium.
Avini’s
use
of
marquetry
or
Khatam
–
a
traditional
Iranian
craft
of
inlaid
wood
–
has
developed
to
encompass
new,
seemingly
disparate
sculptural
forms:
organic,
rock-like
objects
(sometimes
including
the
crystalline
protrusions
of
actual
minerals)
and
abstract,
mask-like
objects
that
evoke
ancient
armor
or
shamanistic
talismans.
Here,
the
marquetry's
decorative
symmetry
coexists
with
the
shapes'
opposing
asymmetry,
creating
a
plurality
of
visual
planes.
Similarly,
Avini’s
paintings
of
peacock
feathers
on
mother-of-pearl
explore
the
dichotomy
between
these
two
naturally
occurring
patterns.
A
new
series
of
sculptures
exemplifies
the
mechanism
of
subversive
play
at
the
core
of
Avini's
practice.
With
these,
Avini
combines
geometric
forms
rendered
in
lacquered
surfaces
or
marquetry,
creating
hybrid
Modernist
assemblages
that
are
neither
painting
nor
sculpture.
Avini’s
installation
of
these
works
within
the
space
will
activate
the
building's
unique
domestic
character
via
personal
recollections
of
the
artist’s
past
environs.
Haft-Sin*,
a
Persian
New
Year
table
setting
(in
this
case
dislocated
in
time)
replete
with
the
characteristic
flourishes
that
impressed
him
as
a
child,
will
exist
alongside
the
works
this
aesthetic
inspired.
Similarly,
a
wall-drawing
on
the
top
floor
will
evoke
the
patterned
wallpaper
of
his
childhood
home,
providing
the
backdrop
for
the
artist’s
own
carpet
paintings
–
flowing
jewel
tones
reminiscent
of
Persian
prayer
rugs
applied
to
standard
pile
carpets
with
an
Abstract
Expressionist
gesture.
Together,
these
installations
and
pairings
will
cloud
the
division
between
art,
decoration
and
architecture,
prompting
the
viewer
to
reconsider
the
fluidity
of
these
definitions.
Andisheh
Avini
was
born
in
1974
in
New
York.
Educated
at
Hunter
College
in
New
York,
he
has
shown
consistently
in
solo
and
group
exhibitions
since
2002,
including
locations
in
New
York,
Berlin,
Los
Angeles,
Basel,
Madrid
and
Paris.
He
currently
lives
and
works
in
New
York.
