DODGEgallery
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UNTITLED. Miami, 2013. Photo: Adam Reich
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Cordy Ryman, Omaroctavia II, 2013, acrylic, enamel on wood, 104 x 100 x 2.25 inches, variable. Photo: Adam Reich
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| Two Coats of Paint, "Mary Addison Hackett's final Miami round-up." - Mary Addison Hackett |
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UNTITLED. MIAMI BEACH: CORDY RYMAN
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| IMAGE: UNTITLED. Miami, 2013. Photo: Adam Reich |
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On View: December 4 — December 8, 2013 |
 DOWNLOAD PRESS RELEASE AS PDF
| DODGEgallery is pleased to present American artist Cordy Ryman at UNTITLED. Miami. The artist is exhibiting a solo booth and an installation at the entrance of the fair.
Whether one attributes a Cordy Ryman work to the category of painting, sculpture, or installation is loosely relevant; Ryman sees the squared form of a painting, the modernist independence of an object, and the frame of the room as directive rather than rule-bearing. Stacked blocks, stapled Velcro, radiating hues, chopped 2x4’s, assembled paint sticks and stuck debris populate the structures and crevasses of his work. With an instinct for a logical geometry of repeated forms, Ryman is equally committed to unexpected arrangements that allow for discovery and imperfection.
Ryman’s booth frames a new variable installation, EOP, in which he returns to the flat surface, emphasizing perspective with rendered rather than constructed stacked forms. Adding to his repertoire of enamel, pearlescent and acrylic paint, Ryman is for the first time working with the matte, texture and timing of the encaustic medium. Both EOP and the large work at the entrance of the fair, Omaroctavia II, play with modular triangulation and the potential variability of the overall object. Omaroctavia II is the most recent culmination of his interest in built compositions constructed from recycled installations. All of Ryman’s works are a devotion to form whether concrete, painted, or optical. Bright edges often bounce hue within the work itself, and onto the surrounding architecture. Color is his muse.
Mary Birmingham, curator at the New Jersey Visual Arts Center writes, “Unpretentious and playful, his work respects the unfinished and elevates the imperfect.” Ryman feels abstract art should not sit on a pedestal—it is not infallible. His work seeks to break down the coded and often opaque language of abstraction through accessible materials and forms. By bringing to light the aesthetics of imperfection, Ryman’s work is readable, relatable, and distinctly human. While he approaches his studio practice with a compulsive and robust imperative, Ryman infuses a quiet and playful humility into every decision.
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