Perfection in imperfection, a critic to a misogynistic world/ Skirts by Arlene Shechet

June 23, 2020 | Leilany Rangel

Artist Arlene Shechet, first individual exhibition in Pace’s online viewing room, “Skirts”, overview and criticizes the way women are seeing and cataloged as objects through the reduction of women to passive things, with the effortless pieces made of wood, metalwork, ceramic and a mixture of a pop of colors, in man-made sculptures and organic, rich in meaning and abstract messages with a juxtaposition of from the natural and already-made objects.

Arlene Shechet, Day In, Day Out, 2020, Pace Gallery, New York © Arlene Shechet

The art tour is full of abstract pieces looking for balance with its asymmetrical proportions which assimilate human and nature. 

Arlene Shechet, Grammar, 2020
Pace Gallery, New York © Arlene Shechet

“Grammar” is a sculpture that resembles the human respiratory system, as it seems to be a lung with holes from where the object is “breathing”, as an analogy to what is inside the human body as an approach inside the mystery of its structure. Made from glazed ceramic, steel, and painted hardwood, the use of clay to create the object stays with its natural color as it is spontaneously part of the artwork

About the Artist:

Arlene Shechet is an American multidisciplinary artist based New York, working from her studio where she creates contemporary pieces in which explores the magical world of man-made and organic materials in which she experiments with different materials, colors and textures to explore the limits of gravity, changing the traditional way of manipulating these materials to push it to its limits and create a unique masterpiece with its complex techniques manipulating wood, concrete, steel, ceramic and clay.

The process Shechet uses to create the artworks is technically difficult as she manipulates objects and materials that need hard work to be created, this is why her sculptures are, as described by her, “imperfect”, playing with the architectural aesthetic and its lights. The artist has a long collection of artworks made for the private and public exhibitions including the Metropolitan Museum Of Art in New York, RISD, Los Angeles County Museum Of Art, The Frick Collection.

The word skirt has a specific meaning in this exhibition, as it is a misogynist comparison of the word women, it’s used in the exhibition as a synonym to it, as all sculptures are completely different and each and one of them has a uniqueness attached to it, as well as how a woman is, comes in every shape & color, all different, there’s no meaning to what a woman should be, just the stereotypical stories and words that poisoned the diversity that we are contemplating in our world.

 Arlene Shechet: Installation view, Skirts, February 28 – April 25, 2020 
Pace Gallery, New York © Arlene Shechet

Arlene Shechet, In My View, 2020 
Pace Gallery, New York © Arlene Shechet
Arlene Shechet, Via the Moon, 2020 
Pace Gallery, New York © Arlene Shechet

Arlene Shechet, Altered State, 2020 
Pace Gallery, New York © Arlene Shechet

An overview of the Shechet sculptures, lead us to this magnificent pieces which are created by chaos and the experimentation of balance through the objects, the sensation, and mixture of colors and textures that creates a symphony between them, the architectonic and figurative designs evolves into a unique synchronization of splendid and original techniques to fusion traditional into contemporary art, as she uses artisanal ways to transform the materials to complex creations challenging gravity and density. Abstract figures and several pieces resembling the respiratory system of the human body, an analogy of perfection in imperfection, this is what you can find in her exhibition.

The online exhibition is being displayed on Pace Gallery—contemporary gallery representing international artist – site: where you can explore the online viewing room to know more about her artwork and the complete pieces from it.

To know more about the artist visit: 

Aspiring filmmaker, editor and writer.

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