Dana Dart-McLean and Christopher Garrett show painting, sculpture, and ceramics in an installation of furniture from Patrick Parrish Gallery (formerly Mondo Cane), as a collaborative meditation on how decor plays with proximity, absence, and interiority. The exhibition will run from January 11th - 26th.

When the Painter sat on the chair, he was not sitting on the chair. His body, each molecule encased in an electron cloud, levitated imperceptibly above the surface of the chair, lifted by the interactions between his electrons and the chair's. In this discursive space, between chair and the Painter's ass, subtleties of repulsion and attraction wear away at the surface. The chair and the ass record a history of shifts in proximity, mediated by styles and memory. For Apples and Orangements, Dana Dart-McLean and Christopher Garrett show painting, sculpture, and ceramics in an installation of furniture from Mondo Cane, as a collaborative meditation on how decor plays with proximity, absence, and interiority.

Dana Dart-McLean's small watercolor paintings on paper are part of an ongoing series, Unmade Movie. These paintings show fictional storyboard sketches for an imagined movie. Asking the paintings to assume an absurd utility as fictional storyboards provides a playful grid through which to consider questions of painting's use value, while celebrating the medium's imaginative potential. These paintings' intuitive compositions and fragments of narrative have a dreamlike quality. The series is shown in custom sculptural frames, further placing painting as thought encased in a decorative scenario.

Christopher Garrett's drawings document a process of gathering letters from plaques on skyscrapers to write poems. Each letter represents a rubbing made from the text adorning the facade of a financial institution's building in New York, Los Angeles, and San Francisco. Interspersed among the letters culled from skyscrapers are letters rubbed from gravestones. The process shows how the immediacy of each letter's transferred impression is inflected by the artist's histories in each city. The built environment becomes the grid on which we hang our associations with place. In this poetic drawing process, each letter becomes a document of a particular location, a point on a subjective map, representing how walks through the structures of our past provide models of memory and language as fragile mediators of temporality. A series of ceramics accompanies these drawings.

Paintings, drawings, and ceramics are shown in an installation of midcentury furniture from Mondo Cane / Patrick Parrish Gallery, interrupted by a melted bicycle and painted barbed wire. Materials, eras, and styles, embodied in art objects and furniture, in various configurations, create moments of unlikely congruity. These moments reveal narratives of proximity and distance as contained in objects, animated by our regard, in rooms as stages for interaction.