installation view, artist studio, 2005 mixed media, dimensions variable Laurence Hegarty Low, Dishonest Time Cynthia Broan Gallery is delighted to announce the second major New York solo exhibition of sculptures by Laurence Hegarty. In his essay from the catalog, David Humphrey said of Hegarty's work: "Laurence Hegarty makes new things and transforms old ones. His work focuses on exchanges, like aggression, commerce, play, attention or love, that are performed between people. He stages Intersubjectivities and their relation to the institutions of public life: politics and the socially enmeshed individual. His work comes to grips with what William Gass said of Robert Coover's fiction 'commercial deceit, political lies, and religious myths the better to strangle them' ". Hegarty makes a world of political allegory and psychoanalytic symbols. Banks commit aggressions and workers suffer; super-ego father figures issue phallic threats. The stakes are high because we live in times Hegarty refers to in the title of this exhibition as "low and dishonest". Power needs to be understood; it needs to be played with and worked over. Originally from London, Laurence Hegarty has lived in New York for more than two decades. Though initially trained as an artist, Hegarty's interests have wandered over the years, leading him to pursue film studies and psychoanalysis as partners in the conversation that shapes his studio practice. Hegarty has trained as a psychotherapist and he now maintains a private practice in New York City. Though the two disciplines - studio art and psychoanalysis - are not integrated in any way, it is the overlaps and collisions between them that shape Hegarty's art making. Often staged as parades or processions, his installations employ found objects jostling for space alongside figures hoisting flags, batteries of rubber cameras, weapons, carriages and sundry domestic objects. Photographs and fragments of writing are plundered from poems, psychoanalytical texts, European art cinema, liquor commercials and modernist painting. The general tone is theatrical, the organizing principle as narrative, while the references trade in allusions to popular culture, clinical horror and drunken reverie. A 16 page catalog for "Low, Dishonest Time"s with an essay by David Humphrey is available. Exhibition: January 12 - February 18, 2006 Gallery hours: Tues-Sat 10 am - 6 pm Cynthia Broan Gallery 546 W. 29th St. USA-New York, NY 10001 Telephone +1 212 760 0809 Fax +1 212 760 0810 Email contact@cynthiabroan.com www.cynthiabroan.com |
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