In Michelle Grabner’s paintings on view at James Cohan, there is an intense interplay between the handmade and the mechanical. While many resemble fabric or cloth, the fastidious application of paint and the slight variations achieved through tiny brushstrokes create a meditative process for the viewer and possibly the creator. Her gray, white, and yellow palette in all of these untitled works are calming and require close inspection. They go beyond mere Trompe l'oeil, with Grabner extracting the beauty from the overlooked nature of her source material. The front of the gallery features a wall-sized installation of ceramic and brass tiles in a variety of muted colors and textures that resemble miniature paintings. This patchwork collection shows the power of this medium, with certain glazes and firings creating glitches and imperfections that add rather than detract from the repeated nature of the square grids.
A series of reliefs use found and cast jam jar lids embedded in wood panels. The pops of color from the real lids, whose gingham patterns bring to mind a tablecloth, and the greenish patina of the bronze copies, are a welcome contrast to the monochrome paintings. While in her paintings she clearly relishes in creating sophisticated compositions with blobs, strokes, and lines, these sculptural works have a homey collage aesthetic. More than a readymade however, Grabner further investigates the formal qualities of a utilitarian object that remains relevant in a contemporary society quick to embrace the latest technology. Grabner assures us that it is more than OK to cherish the analog.
Michelle Grabner, James Cohan, 291 Grand Street, March 6 – April 3, 2021.