Moskowitz Bayse is pleased to present Spatial Means, an exhibition of works by Erik Frydenborg, Valerie Green, Daniel Hauptmann, Olaf Holzapfel, Christopher Iseri, Achim Kobe, Donna Kolb, Anthony Lepore, Adam Moskowitz, and Claudia Wieser. Spatial Means will be installed in our Viewing Room from February 17 - March 23, 2024.

Across sculpture, photography, and painting, the artists included in Spatial Means leverage the manipulation and interpretation of space in two and three dimensional compositions to explore an array of complementary abstract concerns. In Donna Kolb’s painting Untitled (2023), a matte set of hinges are uniformly scattered across the composition join strips of delicately depicted wood, coyly implying the potential for the surface to fold in on itself like an accordian. In contrast, Erik Frydenborg and Daniel Hauptmann’s works use shapes carved and cut from wood as surfaces for painting, accentuating compression and expansion of form in space. 

Olaf Holzapfel and Achim Kobe use overtly natural elements in their works to achieve different abstract effects. In Holzapfel’s piece, intersecting patterns made whole from meticulously placed individual strands of dyed hay weave in and out from one another on a flat plane. Ghosted images of leaves and branches intertwine and dissolve into themselves in Achim Kobe’s painting Leaves IV, a counterpoint to the grid that comes into focus through the back of his surface at the center of his composition. While Anthony Lepore pushes photography to its illusory extreme in his work by returning his pictures to the construction in which they were photographed, Valerie Green uses the material flatness of her pictures to great dimensional effect by cutting into and layering them on top of one another, creating a literal void at the center of her piece.

Christopher Iseri, Adam Moskowitz, and Claudia Wieser use industrial materials in works that offer phenomenological perspectives. In Christopher Iseri’s Solar, a painted grid on vinyl projects the shadow of a complementary grid on the wall behind it, while the opaque copper and tile forms of Claudia Weiser’s work only allude to a deep space beyond them. In Op. 25 by Adam Moskowitz, gradients of oil paint on a smooth aluminum surface sit under a photographic image; the light and color in the painting seem to wrap around the forms in the photograph, expanding the dynamic range of his image.