PRESS RELEASE

MARQUEE PROJECTS

3 Fold

Maggie Avolio

Jean-Philippe Duboscq

Laura Kaufman

Exhibition: September 12 - October 18, 2020

MARQUEE PROJECTS is pleased to present 3 Fold, a group exhibition of paintings and sculptures by Maggie Avolio, Jean-Philippe Duboscq, and Laura Kaufman.

A reception for the artists will be held on Saturday, September 12, from 3 pm to 7 pm.

Humanity has always been fascinated by the aesthetic and utilitarian potentials of foldable and bendable materials, from those used in origami and basketry to the woven, pleated, ruched, draped, and gathered fabrics of couture and other textile arts. The world’s oldest baskets are carbon-dated to 12,000 BC, and today scientists and engineers continue to explore the versatility of folded applications in disciplines ranging from nanorobotics to biomedical devices to spaceflight. MARQUEE PROJECTS is pleased to present the work of three artists who contribute to the ongoing formal investigation of this limitless genre.

Laura Kaufman’s sculptures incorporate diverse media including linen, willow sticks, ramie, wool, paper, and steel into high-touch sculptural objects that are joined, embroidered, woven, bent, and folded. Her pieces have always referenced landscape, minimalism, information design, and traditional textile crafts. But after recently studying with Hudson Valley basket makers, Kaufman has developed new patterns and drawings in space that speak to the environmental, social, and political unrest of our time.

Jean-Philippe Duboscq creates endless riffs on the basic format of canvas stapled onto a stretcher frame. By tearing, layering, braiding, folding, and applying pigment to this material, he constructs pieces that are both sculptural and painterly, often with modular elements that encourage collaborative installation possibilities with curators, gallerists, and collectors. And while abstract in nature, Duboscq’s work nevertheless suggests multiple allusions including the passage of time, geological strata, tribal fabric, architecture, landscape, bookbinding, meteorology, and digital technology.

Maggie Avolio’s practice simultaneously questions and deconstructs traditions of painting, sculpture, and textile studies. By coloring, cutting, shaping, and bending canvas, she creates work that defies classification and examines the focal point where this material straddles the worlds of art, industry, and domesticity. Avolio teases apart the underlying structures, traditions, and patterns of canvas, generating a compelling reconsideration of its usual identities and coded associations.