{"id":7439,"date":"2022-04-16T12:43:57","date_gmt":"2022-04-16T16:43:57","guid":{"rendered":"https:\/\/bradleyertaskiran.com\/?post_type=exhibition&p=7439"},"modified":"2022-08-11T15:40:01","modified_gmt":"2022-08-11T19:40:01","slug":"beveridge-reyes","status":"publish","type":"exhibition","link":"https:\/\/bradleyertaskiran.com\/en\/exhibition\/beveridge-reyes\/","title":{"rendered":"Laps"},"content":{"rendered":"\n

April 28 to May 28, 2022<\/p>\n\n\n\n

Bradley Ertaskiran is pleased to present Laps, <\/em>a duo exhibition featuring Gabriele Beveridge and Carlos Reyes. <\/p>\n\n\n\n

When considering how Beveridge and Reyes\u2019 artworks fit, flow, <\/em>or move <\/em>together, there is something unnameable at work, a feeling, a pull, an energetic sensation, a transfer from one form to the next. In Laps<\/em>, this circulation of energy is abundant and palpable, from the very start of the making process, as in the case of Beveridge\u2019s active glass-blowing method, to the end of an objects\u2019 life, as with Reyes\u2019 use of found materials, exhausted from human interaction. What\u2019s more, the presented artworks manifest traces of imparted movement, electricity, and time, showing how human and mechanical energy actively transforms glass, metal, and fabric into something new, or passively wears them out altogether.<\/p>\n\n\n\n

Beveridge\u2019s combinations of materials and organic forms recall the rhythm and tension of bodies in motion: from the cyclical breaths needed to create glass-blown artworks, to the repetitive gestures of pulling and tightening used to shape her hair sculptures. In her installation Lattice <\/em>(2022), hand-blown glass orbs rest precariously on a grid of hooks, their organic forms softening against the jarring metal appendages, evoking a heightened sensitivity; the luscious pink glass beckons us closer, but we hold our breath as if a mere exhalation or movement would alter it indefinitely. Throughout her Orbit <\/em>series, synthetic hair is stretched across a tapered disk, the result tense and elegant, like motion halted in time. If Beveridge\u2019s sculptures elicit a palpable presence, then her Lightpool <\/em>photograms are rooted in an absence;<\/strong> the abstract circular flesh-coloured shapes show imprints of glassware, a tactile trace left behind.<\/p>\n\n\n\n

Harnessing found objects, Reyes\u2019 work carries the mechanical traces of human life and passing time, notably his series Sarah <\/em>(2022), made of sun-faded jewellery displays from a decommissioned jeweller in New York. An accidental photogram, the red velvet-lined panels carry the bleached impressions of chains, hoop earrings, and other wearables, relics of bygone commerce and labour. In Reyes\u2019 installation Untitled <\/em>(2022), large rubber treadmill belts cascade from the ceiling; on one side, the manufacturer\u2019s trademark, and on the other, the embossed skid marks from bodies and machines in motion. Reyes\u2019 sculptures are discarded fossils of human energy: materials and objects that have absorbed the long-term effects of sweat, brute force, and expelled electricity, only to be deemed useless and in their lifeless states, thrown away.  <\/p>\n\n\n\n

In Reyes\u2019 sculpture PROMESA <\/em>(2022), suspended twin lamps fused at their lampshades show lights fluctuating at different brightnesses and speeds, each monitoring the live power usage and electrical discrepancies of Puerto Rico and Montreal, respectively. Here, Reyes\u2019 exhausted, pulsating lights visualize bodily currents in the form of real-time power surges and shortages. Together, Beveridge and Reyes\u2019 varied sculptures manifest controlled and expelled energy, flowing from body to object, object to body.<\/p>\n\n\n\n

 <\/p>\n\n\n\n

To consult Gabriele Beveridge\u2019s work, click here.<\/a>
To consult Carlos Reyes\u2019 work, click here.<\/a><\/p>\n\n\n\n

Exhibited artworks by Carlos Reyes courtesy of Derosia, New York. Carlos Reyes, PROMESA (Laps) <\/em>(2022): Design engineering by Sam Wolk.<\/p>\n","protected":false},"excerpt":{"rendered":"

28.04 \u2013 28.05 2022<\/p>\n","protected":false},"featured_media":10638,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[149],"tags":[],"artists":[57,45],"year_":[119],"tags_a_venir":[],"class_list":["post-7439","exhibition","type-exhibition","status-publish","has-post-thumbnail","hentry","category-carlos-reyes-gabrielle-beveridge","artists-carlos-reyes-2","artists-gabriele-beveridge-en","year_-119"],"acf":[],"yoast_head":"\nLaps - Bradley Ertaskiran<\/title>\n<meta name=\"description\" content=\"Bradley Ertaskiran is pleased to present a duo exhibition featuring Gabriele Beveridge and Carlos Reyes. The exhibition underscores a palpable circulation of energy between Beveridge and Reyes\u2019 sculptural works. Solarize underscores a palpable circulation of energy between Beveridge and Reyes\u2019 sculptural works: evident from the very start of the making process, as in the case of Beveridge\u2019s impressive glass-blown sculptures, to the end of an objects\u2019 life, as with Reyes\u2019 use of found objects, exhausted from human interaction. 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