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“STRIP TO THE BONES” establishes a dialogue between Barbara Hammer’s cinematic work Sanctus (1990) and a new series of abstract paintings on nailed paper and canvas by Margaux Meyer.
Both artists reject classical forms of representation and break with a certain aesthetic tradition, where experimental cinema replaces genre cinema, and abstraction supplants figuration. Their thinking is shaped by reactions and sensations that place the body at the center of their work. Their practices are articulated through phenomenological elements—sensitive and gestural—resulting in a strong organic, then erotic, tension that allows the represented subjects to exist freely. Meyer’s painting breaks away from the physical laws that constrain the body in its representation, manifesting as the distension of cellular tissues, which seem to stretch to the point of rupture, to the point of ecstasy.
Composed from animated 70–3…
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Press Release
“STRIP TO THE BONES” establishes a dialogue between Barbara Hammer’s cinematic work Sanctus (1990) and a new series of abstract paintings on nailed paper and canvas by Margaux Meyer.
Both artists reject classical forms of representation and break with a certain aesthetic tradition, where experimental cinema replaces genre cinema, and abstraction supplants figuration. Their thinking is shaped by reactions and sensations that place the body at the center of their work. Their practices are articulated through phenomenological elements—sensitive and gestural—resulting in a strong organic, then erotic, tension that allows the represented subjects to exist freely. Meyer’s painting breaks away from the physical laws that constrain the body in its representation, manifesting as the distension of cellular tissues, which seem to stretch to the point of rupture, to the point of ecstasy.
Composed from animated 70–3…
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