Room482 is pleased to present CHASMS, Anthony Torrano's solo debut in New York. (Located off-site at 75 East Broadway in the Two Bridges neighborhood of Manhattan.)
In this new body of work, Torrano draws upon abstraction to frame sentiments of physical space, reducing landscapes to the scale of architectural accent or entire terrains. He paints from collages made on excursions, recalling a mirage of subjects nearby. In layers of acrylic and spray paint, Torrano offers a synesthesia of landscape—rendering the vast and expansive with the condensed and claustrophobic—as ten paintings that journal his memory of place.
A spontaneous process remains present throughout his rectangular and sculptural paintings. Surfaces are collaged in contrasting cool and warm tones that blush as possible horizons; a rhythm of orientations, overlapped, and gradating towards different times of day. Painted rips delineate, perhaps as foreground, and tear across colored cutouts in solid hues and textured streaks. Geometries chasm, like a narrow opening or long line of breakage, cracking, splitting, torn; upon rock, earth or canvas.“To stretch any fabric concave you need to cut slits, to cut any fabric convex, you fold.” Torrano decisively plays with construction, omitting, covering, editing; outlining compositions in the second and third dimension. Stretched frames arrange in clusters with bound edges left barren, resembling signage, maybe the molding around a window, a fixture? They hang like pausings—moments noticed down a block, following a stream—that wait upon a painted image to reflect nearby surroundings. His marks narrate in vivid scenes of biographical and fictional recollection. Presenting paintings as memoir, Torrano details place and emotion in abstract roadmaps that share his allure to wander. 2021
Atrophied is a an onging curatorial and collaborative research project that addresses the slow measure of atrophy as a malleable concept. Centered around a progression of exhibitions and an accompanying publication; these theme hopes to showcase the deep yet elastic abstractions of single topic. Compiling perspectives from artists, design curators, to nature journalists; these specified contributions will collectively put into conversation different responses to the sentience of unmaking. How do we articulate parts of ourselves that are longer exercised or have opportunities for use?
Take, for example, the depletion of dialect; no longer within proximity to hear a specific language or the textural qualities delivered by a voice now severed—perhaps by diaspora, initiated by progress, growth, or assimilation—is atrophy an onset of alterity?
Reversibility and reduction-can gestures in the process of physical or material unmaking be used to affirm our responses about being unmade? How do we enact intangible loss through material things, by way of material culture, as extensions of ourselves?
What are the ephemeral attributes of atrophy as an involuntary process, as an intangible occurrence? As subjects of experience that are constantly engulfed in a state of change, how conscious are we of subsiding depletions? Are the inciting causes of atrophy internal? External?
Exhibited nearby varying practices and mediums, what are the avenues in which we can reveal the conditions of unmaking—cultural, internal, communal? 2021
ALICE GONG XIAOWEN