ARTnews, 2014
Essay by Jo Anna Isaak
"The Bellagio Suite"
The Landscape Explored:
Interview by William Forrestall
Telegraph-Journal, 2013
The Aquinian, 2013
NY Arts Magazine, 2007
NY Arts Magazine, 2004
NY Arts Magazine, 2001
Artnet.com, 2001
Review Magazine, 1999
Cover Magazine, 1999
Essay by Jonathan Goodman
"Inklings"
Manhattan Times,
2005
|
Processing Natural Order:
Sky Pape at June Kelly Gallery
by Chloe Veltman, Cover Magazine, September 1999
Sky Pape's Inklings deal with time, yet possess neither beginning
nor end. Pape describes her pieces as "works of inconspicuous beginnings,"
but the endings, resisting definiton, are equally obscure. Pape's
work has its origins in the tradition of paper and ink drawings,
but rather than seeing paper as a flat surface upon which to sketch,
Pape's hand-torn strips of stiff, pulpy Japanese Kozo paper protrude
from the gallery walls in horizontal rows, creating fascinating
three-dimentional effects.
One of the most striking of these is the moment-to-monent play
of natural elements of the works. As the breeze blew in June Kelly's
Broadway gallery, so the layers of paper subtly rippled; as the
afternoon shadows lengthened on the walls, so the changing light
transformed the physical surfaces of the pictures.
In Drift (1999), splattered dots of dark ink randomly spot
the gleaming white terrain. Dabbing color onto the uppermost strips,
the artist allowed the ink to soak through the layers haphazardly.
The finished work is an ingenious realization of the processes and
unpredictability of time.
"Driven by the existence and effects of incomprehensible, random
forces within a rational system of implied order," Pape's words
find their apotheosis in The Last Letter, (1998). With its
segmented landscape of bleeding, frayed edges, the picture suggests
unfinished business.
Not least for the choice of Japanese materials and the simple uncluttered
lines, Pape's work reflects a strong Eastern influence. The stiff
parchment pleats recall the designs of Issey Miyake, while thematically,
the focus on the random processes of nature glances toward Buddhist
teaching. Pape's works adorn the walls of galleries, private homes,
and corporations, yet unsurprisingly, she would like to see her
works displayed in a place for meditation.
|