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
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Sky Pape at June Kelly Gallery
by Mark Daniel Cohen, Review Magazine, June 1999
Excerpted from a review of the solo exhibition "Inklings: Drawings"
Sky Pape's personalized reconfiguration of the very idea of a work
on paper like most formal innovations takes up its
residence squarely within the perimeters of established tradition.
In the seven works now on exhibition at June Kelly, all created
this year and last, she has devised a unique manner of working paper
and ink, a personalized formalism in which to phrase the visions
she pursues. Individual and specific to her enterprise, her manner
nevertheless abides by the longstanding recognition of the close
similarity between, even the near identity of, drawing and sculpture.
Drawing is, in its simplest instance, a concern with form
the outlining of forms, the cutting of forms among forms, the detailing
of the intricacies and the visionary potential of the formal imagination.
It is in this way, in its essential concern, comparable to sculpture.
The painterly imagination is panoramic it composes the elements
of the field, fills areas with tonal configurations that take their
significance from their relationships with other tonal areas within
a planar context. The difference between a work of painting and
a work of sculpture is the difference between form and field
the two essential elements of the visual imagination, which is as
much the imagination of logic as of visual insight. And each of
the two elements is meaningless, in fact impossible, without the
other. The difference between painting and sculpture is, in the
end, a matter of emphasis, a choice of which foot is put forward.
Sculpture thrusts forth the form to occupy the visual field; painting
presents the field to encapsulate the division into forms. With
its tendency toward outline and definition by structure rather than
tone, drawing aligns to sculpture.
It is no surprise, then, that sculptors are so frequently spectacular
draftspersons. Or that draftspeople can so thoroughly and successfully
embed sculpted forms into the mind, the precinct in which form fully
resides, projected there by the physical analogue in bronze or marble,
or by the image on paper. Pape's ink-and-paper constructions stand
halfway between image and physicality. They are as much akin to
relief sculpture as to standard drawing. They are as much physical
analogues of the impression she seeks as they are rendered images
dreamt onto the paper.
Pape has assembled her works out of long strips of handmade Japanese
Kozo paper. The strips are set lengthwise in horizontal rows, attached
together along one edge, and folded so that they extend outward,
achieving a sculptural volume as they bristle out from the gallery
wall. She stains the hand-torn outer edges with Sumi ink, often
permitting the ink to seep across the width of the paper strips
and down into the depths of the work.
It turns out to be a remarkably effective technique of abstraction,
for conveying the sensation of disembodied tangibles, of physical
facts with no configuration drawn from nature. The torn paper edges
that stretch out two inches from the wall seem to mass together
visually, creating a feeling of solid volume where there is almost
nothing more than horizontal spaces between horizontal paper strips.
Shadows gather between the strips and darken with depth; they oscillate
and shift as one walks past each work becoming vibrant densities
where there is little more than void, inchoate forms where there
is principally nothingness. This is the objective and language of
Constructivist sculpture: the volume without mass, the formulated
but empty space, the vacuum that is strangely full, the void that
is also a plenum.
Pape's paper-and-ink technique is thus remarkably capable of conveying
a sense of tangible mystery, of a heavy presence of the half of
our world that is forever beyond precise conception but is ever
close at hand. She sees and reveals the thing that is felt to be
just over one's shoulder, that is caught momentarily out of the
corner of the eye, that is nearby until one looks straight at it
and then isn't there at allthe thing that comes only in inklings.
The void is also a plenum Between the Meadow and the
Moon, 1998, is a fibrillating but nearly empty mass with the
paper stained all through to a solid black. The shadows between
the paper layers densify the black, making the darkness darker still
with a heaviness of implication, of felt suggestion, as if the space
between the earth and the moon were filled with the intuition of
a reality that cannot be seen, but that is the very substance and
secret of the night.
Pape's visual language speaks of such things that are past the
grasp of direct statement. It is a language that is both potent
and in some sense primitive, ancillary to the cultural coding embodied
in spoken language and in recognizable symbolic systems, conveying
a meaning that underlies all the conscious meanings we know and
readily acknowledge. In The Last Letter, 1998, a multitude
of horizontal paper strips are inked only along their front edges,
creating a series of waving black lines backed by the white of the
unstained portions of the paper. Each strip is made of two pieces
of paper glued together. The point where they join has accepted
more ink and is darker than the rest of the papers' edge. The darkened
seams are positioned above and below each other to give the impression
of a vertical black line in the center of the composition. The line
is the noticeable mark, and "the last letter," whether
a personal message or a letter of the alphabet, floats above a welter
of meaning implicit in nature, evident to the mind only when the
last note of culture is silent.
Pape's artistic language is the language of nature because it has
been developed out of her craft, out of the manipulation of the
simple materials of art. That is the reason her idiosyncratic manner
is legible to us. It is something more than a private code of meaning;
it is why we are fluent in her language. Henry Moore once observed
that there are universal shapes to which everyone is conditioned
and to which everyone is prepared to respond. Such forms are derived
from craft, from the knowledge of the inherent laws by which simple
materials may be manipulated, materials like ink and paper. That
is why are is based in craft, in materials rather than culture
for the sake of a universal legibility.
And her language is more than a blunt presentation of crude forms.
It is capable of articulation, of inflections of meaning, and of
communicating an articulated understanding. The precision of the
relationships between her images and their titles indicates the
carefully detailed significance of the works. Two works of similar
visual impression are wisely placed side by side in the exhibition,
and their comparison makes clear the deep realization to be found
in both.
Will, 1999, displays a single black vertical line, produced
by ink collecting in the joints between the paper strips, a line
floating with the black and white space of the work. Inheritance,
1999, has two such vertical lines but is otherwise the same. The
difference between them is the difference between "will"
and "inheritance." For the will is the self, the inner
sense of being a whole and independent consciousness, and a single
mind, a single spirit. But inheritance is something more than the
acquisition of the past. It is the felt presence of another within
us, of the "other" within us, of someone within who is
not "me," of someone as foreign as a person seen across
a room.
To know you are of the world, that you are born of biology and
come from a family, from a lineage, is to discover there are others
within, others who seem as alive as you. It is to know that you
are not alone, even in the depths of your own mind, and that you
do not stand in the center of your own inner realm like two
lines where there had been one, and neither is in the middle of
the work. Inheritance makes an appropriate moment in an exhibition
that the artist has dedicated to the memory of her father, who died
on May 17 of this year.
And just as appropriate is the air of mystery made palpable, an
atmosphere that runs through the entire exhibition, through all
the work. Pape is clearly among those artists who know that a great
deal of art has been and continues to be about mystery, that art
often makes mystery tangible, that it often reveals mystery, which
is not to dispel it but to make it evident, make it immediate, while
retaining all that is mysterious about that truth the artist is
pursuing. All is revealed even as nothing is deduced, is simplified,
is made digestible, is made comfortable, is made the receptacle
for mere opinion.
It is simpler and more direct to say that art has often been a
sibling of mysticism. Religious art, Byzantine art, art of pure
abstraction has had much in common with meditative disciplines whose
goal is to alter consciousness. And much of art still does, when
it is created with the passion that Pape has infused into her works,
and through her works, into her viewers.
[ view the work discussed
in this review]
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