MAGDALENA SUAREZ FRIMKESS AND LUIS ROMERO
OCTOBER 16—DECEMBER 19, 2015
Adams and Ollman is very pleased to announce a two person exhibition with Magdalena Suarez Frimkess and Luis Romero. The exhibition is on view through December 19.
On view are new ceramic works by Magdalena Suarez Frimkess, a self-taught potter, who has created a highly personal and idiosyncratic body of solo and collaborative ceramic works since the 1960s. Roughly fashioned and holding tenuously to the idea of function, Suarez Frimkess' cups, mugs and pitchers serve as three-dimensional canvases on which she depicts a daily narrative that is as much influenced by history and tradition, as it is by comics and television. Art historical references collide with pop culture, politics and family history as she upends expectations while continuing the long tradition of storytelling through pottery.
Much like Suarez Frimkess ceramics, Luis Romero's compositions acknowledge a push and pull between two
and three dimensions, surface and structure. From disparate imagery or marks, both artists create a cohesive whole – one that is layered and collage-like– from everyday images and materials. While mindful of traditions, each is equally irreverent and humorous, consciously making something handmade, that rides a line between function and decoration. While Suarez Frimkess elaborates sculptural objects with painted imagery, Romero creates sculptural objects from paper and paint.
With their rich color and eye-buzzing patterns, Luis Romero’s constructions are made with small and oddly
shaped bits of paper, cardboard and paint arranged into orderly rows and tiers. The accumulation of these
rhythmic marks and gestures, seemingly governed by their own logic, creates elegant, contemplative spaces
that are visually confusing and ambivalent. The marks that Romero uses to make patterns and organic forms
serve to obscure the supports and contents they cover, much like camouflage or razzle dazzle. Elucidating a
dependence between presence and absence, the works suggests a surface as well as areas that are hidden or
not visible. Often working on a piece over the course of many years, the artist reconfigures these pieces or
fragments into something whole again that can be read as haptic architecture, fetishes or toys.