Continuing through November 30, 2013
Seriality and deconstruction are central to Anne Hirondelle’s ceramic forms and works on paper. Her "Remember Grid" lines up three sets of nine wall sculptures apiece, the series grading from monochromatic off-white to gray-and-white to black-and-white as it progresses from left to right. Another series of graphite works on paper, "Link," pairs semicircles of different radii, with illusionistic shadows trailing to the shapes’ sides, as if they were three-dimensional.
In sculptures based on this series, "Link 2" and "Link 3," the artist nests white-painted stoneware hemispheres within larger hemispheres. And in "Tumble 15" she places circular forms of different sizes within one another, painting their interiors in primary colors, their exteriors white. Viewed in cross-section, the effect evokes Kenneth Noland’s iconic target paintings or the billowing smoke clouds of Georgia O’Keeffe’s "Train at Night in the Desert" (1916). While Hirondelle’s diminutive works exude a winsome insouciance, they are too formalist to veer into preciousness. The textural quality of her materials imparts an almost tender humanity, even as the forms’ geometries speak to Platonic ideals.
