December 7, 2018 – January 19, 2019, 6-8:00 PM, Abrazo Interno Gallery
Abrazo Interno Gallery at The Clemente
107 Suffolk St, 2nd Floor
New York, New York
December 7 – January 19, 2019
Opening Reception Friday, December 7, 2018, 6-8 pm
Closing Party Saturday, January 19, 6-8 pm
Saturday, January 5, 2019 / 12-3 pm
(Snow date: Saturday, January 12, 2019, 12-3 pm)
Discover Your Trill Matrix: Drop In Art Activities at The Clemente
Make sculptures using recycled materials, use transparent materials in a collage, create a weaving with unusual materials, and more..
The female collaborative group, Trill Matrix, has undertaken an experimental exhibition employing an open approach, rather than an umbrella approach. The artists of Trill Matrix have traveled on overlapping paths in New York City’s art communities, and in their art practices. While their artwork demonstrates a variety of strategies and materials, and they are from diverse backgrounds, they appreciate their commonalities in a hectic world and divisive cultural moment, and pass around hats as to the curatorial/organizational roles each engages. This show is curated by Elizabeth Riley.
“Trill” is an adjective used in hip-hop culture to describe someone who is considered to be well respected, coming from a combination of the words “true” and “real;” while “matrix” is a situation or surrounding substance within which something else originates, develops, or is contained.
To shine light on commonalities and differences, each artist has related their artwork to the “Trill Matrix,” in a short text:
Nancy Baker is an installation artist whose work is informed by New York infrastructure. The Trill Matrix connection is apt, as her assembly of components are rooted in a matrix of anxiety and stasis, reflecting a personal reality of the juncture between safety and danger.
For Jaynie Crimmins, the Trill Matrix is an escape from the cultural propaganda promoting manufactured lifestyles and systems of belief. Shredding and working with her promotional mailings, she creates alternative narratives that highlight or obscure the propaganda to promote her truth.
Christina Massey’s work incorporates repurposed beer cans that have been manipulated so that the barcodes and text subtly inform the viewer to what her “trill matrix” is within the abstracted works. The linguistic connections between the material and form creating vast interpretations.
Elizabeth Riley has increasingly seen her work as reflective of, and asking questions about the
“mixed reality” of the present, living between physical and digital/virtual contexts; is this digital/virtual matrix the preeminent “trill,” and what does this say about our humanity and our future.
Christine Romanell’s work investigates non-repeating patterns in paintings, light sculptures and installations. Descriptive and evocative, pattern is an imitation of the infinite. The Trill Matrix continues her search for connection to the origins of creation in this messy aperiodic world.
Linda Kamille Schmidt builds installations with layers of transparent fabric panels. Her Trill Matrix emerges from the chaos and noise that surrounds her as it is filtered and interpreted by past experiences, her family history, and things she believes to be universally true in this world.
Etty Yaniv’s Trill Matrix underscores charged states of flux on the individual and geo-political levels.
She coalesces everyday materials into hybrid mindscapes in which the imagery ranges from the biographical to the environmental and political, placing the viewer between the real and the imagined.
Open daily 3:30-7:00. For further information contact: Elizabeth Riley, email@example.com