Gallery is pleased to announce "Overdrive" - an exhibition
of recent works by Diana Cooper opening on February 23 and remaining
on view until March 29, 2008. The reception is scheduled for Saturday,
February 23 between 6 and 8 pm. This will be the artist's sixth
solo show with the gallery.
categorization Diana Cooper is best known for expanding the idea
of drawing into the third dimension to create dense, line-driven
sculptural hybrids. Essentially abstract, yet projecting an inherent
sense of systems, networks and circuitry, Cooper's works bridge
the organic and technological realm. They transcend the childlike
doodling of repetition, multiplication and absent-mindedness to
create complex spatial units where spontaneity and control, chaos
and order, joy and seriousness coexist.
I am fascinated by maps, subway systems, color-coding, the relationships
between macroscopic and microscopic imagery. But I always feel that
I operate by osmosis. I really am influenced by the visual world.
I want the work to have a sensuality and visual impact. And I think
a lot of systems are visual. Systems are a way people try to make
sense of things or create order. They also are all around us, in
the natural world and in the man-made world, and I am intrigued
by how they intersect, echo one another, or come into conflict.
But I am less drawn to the specific content or narrative of a given
system, which for me is just raw material. In fact, I am interested
when something like a diagram or a graph disassociates itself from
its origin and becomes something else entirely.
In A large survey
show "Beyond the Line: the Art of Diana Cooper" curated
by Margo Crutchfield was on view in the fall of 2007 at the Museum
of Contemporary Art in Cleveland. Spanning 10 years of work, this
was Cooper's first one-person museum exhibition.
Wanderings" (2007), a monumental freestanding sculpture originally
commissioned by MOCA Cleveland is a centerpiece of the Postmasters'
exhibition. A multi-sectioned, blood-red structure of interlocking
wooden shells (Margo Crutchfield describes it in a catalogue as
"a fallen ziggurat or a gargantuan armadillo made of hard edged
angular segments,"), it incorporates Cooper's earlier drawings
that are digitally printed and laminated onto the sculpture's hollow
interior and are then further drawn upon. Discussing the piece in
the current issue of Art Papers, Douglas Max Utter calls it an autobiographical
time machine where "the infinity of former doodles becomes
the ground for the artist to scrawl a fresh generation of hand drawn
marks. The structural solidity of the wooden boxes and their febrile,
reproducible interiors suggest that Cooper's prolific ephemera are
beginning to build their own cultural reef."
The second gallery
of Postmasters will be transformed to create an enclosed chapel-like
space for "Orange Alert UK" (2003-2008) - an ongoing room
installation, that began during Cooper's residency at the Wimbledon
School of Art in London and was originally inspired by the color
coded terror alert system established by US Government post 9/11.
Alert UK, 2003 - 2007, acetate acrylic, felt, ethylene vinyl
acetate, paper, foamcore, corrugated plastic, map pins, room installation,
dimensions variable. Courtesy and copyright of the artist and Postmasters