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VIRGINIA OVERTON
VIRGINIA OVERTON
NEW YORK SOHO
LOS ANGELES RODEO DRIVE
NEW YORK SOHO "UNTITLED", 2018 PLYWOOD
LOS ANGELES RODEO DRIVE "UNTITLED", 2017 EASTERN RED CEDAR, BLACK WALNUT, STEEL AND MASONRY TWINE
VIRGINIA OVERTON'S WORK COMPRISES INSTALLATION, SCULPTURE AND PHOTOGRAPHY, OFTEN BEGINNING INTUITIVELY AS A DIRECT RESPONSE TO HER PHYSICAL PRESENCE IN A PARTICULAR SPACE. THROUGH A PROCESS OF TRIAL AND ERROR, SHE CREATES SCULPTURE THAT IS PERFORMATIVE, SOMETIMES OBSTRUCTING, BISECTING, DIVIDING OR JOINING THE ARCHITECTURE OF A SPACE WITH WORKS THAT ARE DRAMATIC AND MINIMAL IN FEEL.
INFUSED WITH AN ETHOS OF ECONOMY, OVERTON'S PRACTICE FAVORS ELEMENTAL MATERIALS, FREQUENTLY RECYCLED OBJECTS THAT ARE FOUND ON SITE OR THINGS DISCOVERED IN THE ENVIRONS OF THE EXHIBITION SPACE. MORE COMMONLY ASSOCIATED WITH ARCHITECTURE, CONSTRUCTION WORK OR FARMING, MATERIALS SUCH AS WOOD, METAL, PLEXI AND FLUORESCENT LIGHTING ARE CUT, BENT AND HAMMERED INTO WORKS THAT EVINCE THE POWER AND SENSORY QUALITY OF THEIR OWN MATERIALS. ‘I LIKE FOR THE WORK TO ACT AS A MARKER OF ITS OWN HISTORY – LETTING ACCRUED DEFECTS SHOW IN THE PIECES – THAT TALKS ABOUT THE WAYS IN WHICH THE MATERIALS HAVE BEEN USED’, SHE EXPLAINS. IN THE WORK UNTITLED (JUNIPERUS VIRGINIANA) (2013), OVERTON USED CEDAR PLANKS FROM HER FAMILY FARM IN TENNESSEE TO NEATLY LINE THE GALLERY WALL, CREATING AN INSTALLATION THAT OPERATED VISUALLY, SPATIALLY AND SENSORIALLY SINCE THIS DISTINCTIVE WOOD HAS A REMARKABLE GRAIN AND COLOUR AS WELL AS A HIGHLY EVOCATIVE SMELL. FOR A RECENT LARGE-SCALE OUTDOOR SCULPTURE COMMISSIONED BY THE STORM KING ART CENTER IN UPSTATE NEW YORK, OVERTON CREATED A 500-FOOT BRASS TUBE WHICH STRETCHES OUT, LIKE A LINE IN SPACE, ACROSS THE LANDSCAPE. DELICATELY RAISED ON STRUTS ABOVE THE GRASS THAT GROWS BENEATH IT, THE TUBE CARRIES AMBIENT SOUND AND IS DESIGNED TO COLOR AND PATTERNATE OVER TIME AS ITS MATERIAL RESPONDS TO THE CHANGE IN WEATHER AND THE SWIFT PASSING OF SEASON.
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