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It's Volume 29 and I am pleased to share the work of one of my favorite artist, Alicja Kwade. On view at Pace Gallery, split between their 508 and 510 addresses, is a dynamic show.
Known for combining natural elements with precise metal forms, she finds perfect harmony in the push and pull of the hard and soft. I personally find a connection with her artist style aligning with the aesthetics I am drawn too like my raw silver jewelry paired with the clean lines of Rosin Studios.
When you first walk in you are introduced to glass plinths with an amorphously uneven top, almost glacial in design. As I often do, immediately I wondered if these could double as furniture and would they be comfortable to sit on. Stepping deeper into the space is an archway opening into the second half of the gallery, confronted by three enormous installation works, something Kwade is particularly known for.
From one end to the other is an evolution of organic tree like bronze branches into perfectly rectilinear powder-coated steel beams. Within these dimensional frames sits her series exploring polished steel pipes housing a double sided clock visible from either opening. The mirroring effect of the polished steel meeting the circular clock lines and its red hand create a liquifying design along the pipes as the minutes pass. It is mesmerizing and peaceful, like watching clouds float by.
With these two works nestled together Kwade is challenging the viewer to accept the intersection of time and material. Standing in front of the clocks makes it literally obvious time is ticking by and yet it makes you stay put in your tracks. Many of Kwade's previous works showcase a temporal experience but known as so blatant as this. Often she uses this theme whilst relating to the perception of causality and reality through a combination of natural and manufactured mediums. Her step into time arts from a stagnant sculpture form allows you to perceive the work through an experience rather than an instance.
Lately I don't know how to dress for the weather so giving highs and lows is always a good bet. Simple is classic and I can always trust the Petra Top for that. The racerback neckline highlights your shoulders for a great shape. Cut in 100% cotton, I love a slub jersey knit for depth and texture to the clean lines. In our sandwashed satin I wore the Stockholm Shorts. It plays a boyish silhouette hitting at mid-thigh with an exaggerated elastic waistband, and of course pockets.
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