Grateful to
@maridapr for this lovely writeup about my show with
@tatiana_kronberg at
@ily2.ily2 ! It's always an honor to see how someone else puts language and frameworks to forms and ideas that have been incubating in the studio for years. Thank you Marianela for all your time and care with this work, in conversation and on the page.
Find the text below, sharing the banner of "conventional scaffolding" with Audacity Files and Rachel Cusk's "The Lucky Ones" đ Followed by more details from my sculptures that were on view! đŞ˘
A concave, surreal ladder leans up against a wall that appears to dissolve behind it. A compass rests uneasily on its two legs, leaning to one side, a trail of something loose unspooling along the floor. In the space between them, a bull, or a steer, or, as the title of the piece suggests âA House, Before Completion,â sits somewhat uneasily. The forms of Dayalâs steel-rod sculptures emerge from her interpretations of instructions for string figures, the multi-person hand games most popularly represented by catâs cradle; they are fragments of language, both verbal and pictorial, static expressions of physical relationships. Dayal bends steel impressionistically, at times curving it with exacting precision into a shape resembling the wires of a whisk and, at others, winding it around itself into unruly knots. The materialâs ductility is both asset and threatâmanipulate it too much, and it becomes brittle, a condition legible in the sculptures so that, paradoxically, the densest moments read also as the weakest, while the thinnest, most delicate, register as confident, secure. There is an unlikely correspondence between Dayalâs work and Kronbergâs, not least because of their use of line: curving, jagged, bunching. Kronbergâs lines, made with lasers on photo paper, most often describe rudimentary flowers, like ones that would be drawn by a child, and bind themselves thematically and visually to Dayalâs string-figure sculptures. In the white space of the gallery, Kronbergâs layered landscapes (in particular one arresting piece titled Cave) and Dayalâs three-dimensional line drawings oscillate, at different speeds, between depth and flatness.
