Janice Guy

of or related to (yellow one, yellow two), 2016 mixed media, 8 x 6 1/2 inches and 7 1/2 x 7 inches

of or related to (fatsi), 2016-18, mixed media, wood, 7 x 9 inches

Upright, 2019, hand-felted wool and painted wood, dimensions variable (detail)

of or related to (mollusc), 2016-18, mixed media, 7 x 8 1/2 inches

of or related to (low power), 2016-18, mixed media, 9 1/2 x 15 inches

of or related to (mutton), 2016, mixed media, 7 1/2 x 6 1/2 inches
of or related to (sluice), 2016-18, mixed media, 13 x 7 1/2 inches
of or related to (solid state), 2016-18, mixed media, 7 x 8 1/2 inches

of or related to (crutch), 2016, mixed media, 10 x 7 inches

of or related to (portmanteau), 2016-18, mixed media, 6 x 7 1/2 inches

of or related to (highway hypnotic), 2016 , mixed media, 10 x 7 inches

Breakers, 2019, hand-felted wool, 2 parts: 28 x 9 inches; 27 x 21 inches

of or related to (dog treat), 2016, mixed media, 9 1/2 x 7inches

of or related to (pocket cake), 2016-18, mixed media, 7 x 9 inches
of or related to (teflon shed), 2016, mixed media, 8 x 8 inches

Stanza 1, 2018, papier-mâché, steel, 22 x 12 x 8 inches

Stanza 3, 2018, papier-mâché, steel, 22 x 10 x 7 inches

of or related to (oblique-tooth), 2016-18, mixed media, wood, 7 x 9 inches
of or related to (clutch), 2016-18, mixed media, 10 x 9 1/2 inches

of or related to (toes), 2016, mixed media, 9 x 8 inches
of or related to (appendage), 2016, mixed media, 8 1/2 x 7 inches

Stanza 2, 2018, papier-mâché, steel, 23 x 13 x 7 inches
Stanza 4, 2018, papier-mâché, steel, 8 x 10 x 10 inches

Stanza 4, 2018, papier-mâché, steel, 8 x 10 x 10 inches (alternative view)

Citronen, 2017, tapestry based on a historic Icelandic weave draft, wool of mature ewes, 30 x 27 inches

of or related to (she said, she said), 2016, mixed media, 8 x 8 inches

of or related to (reference pane), 2016-18, mixed media, 9 1/2 x 7 1/2 inches

of or related to (stymie), 2016, mixed media, wood, 8 x 8 inches
of or related to (aerial), 2016, mixed media, 8 1/2 x 8 inches

of or related to (sensible horizon), 2016-18, mixed media, 12 x 8 inches

Ground (props), 2017, hand-felted wool and stone, 6 x 10 x 3 1/2 inches

Ground (cilium), 2017, hand-felted wool and stone, 11 x 3 1/2 x 3 inches

Ground (cilium), 2017, hand-felted wool and stone, 11 x 3 1/2 x 3 inches

Ground (proud trousers), 2014, hand-felted wool and stone 14 x 14 x 5 inches

Ground (one way or another), 2014, hand-felted wool and stone, 9 1/2 x 10 x 4 inches

Ground (one way or another), 2014, hand-felted wool and stone, 9 1/2 x 10 x 4 inches (alternative view)

Ground (stump), 2017, hand-felted wool and stone, 15 1/2 x 9 x 8 inches

Ground (swab), 2018, hand-felted, wood and plaster, 25 x 9 x 4 inches

Ground (swab), 2018, hand-felted, wood and plaster, 25 x 9 x 4 inches (alternative view)

Ground (bezoar), 2018, hand-felted wool and steel, 15 x 13 x 10 inches

KRISTINE WOODS
Such Is

Janice Guy is delighted to present Such Is, a solo exhibition of serial weavings, drawings and abstract sculpture by Kristine Woods at Mbnb in Harlem.

Kristine Woods (b.1964 Chicago) earned an MFA from the School of the Art Institute of Chicago. She recently had a solo exhibition, Regarding & Regardless, at Virginia Commonwealth University, 2018 and participated in The Portrait is Political at BRIC, New York, 2019. Later this year she will have a solo shown at Geary Contemporary, New York. A recipient of a Creative Capital Artists Grant, she spent the fall of 2018 in residency at Textilsetur Islands, Blonduos, Iceland. She is full time faculty at The Maryland Institute College of Art and lives and works in New York.

In the details — a text by Gregg Bordowitz

The edges in Kristine Woods’ weavings, drawings, constructions and sculptural forms all seem to be achieved through abscission—the natural detachment of parts of a plant, typically dead leaves and ripe fruit. The artist’s works are actually determined through a fervent, almost catechismal, assay of the very materials used. They’re woven, felted, cut, sanded, and joined during the exacting and repetitive process of their making. Each art work is achieved by a thorough process that is both structured and structuring, composed and decomposed, alternately created and de-created. Each piece touched to the point of something we can call null but not-void. Each is an object of devotion.

The plane is tridimensional, every act by the artist upon her materials can be evaluated by two co-ordinate axes, the abscissa is the artist, the ordinate is divinity. Whatever the artist does to matter, she also does to the essence. To those who are attentive to the essence, which is beyond the ineffable, divinity’s relation to the world is an actuality, an absolute implication of being, the ultimate in reality, obtaining even if at this moment it is not perceived or acknowledged by anybody; those who reject or betray it do not diminish its validity.

Visible or not, still, the meeting point of the sacred and the profane is located in every detail. So, “the purpose seems to be to ennoble the common, to endow worldly things with hieratic beauty; to attune the comparative to the absolute, to associate the detail with the whole, to adapt our own being with its plurality, conflicts and contradictions, to the all-transcendent unity…’*

Can such a ‘unity’ achieve credibility by surviving the mutations of spectacular dishonesty, gene-spliced through Crispr technology into the genetic make-up of truth’s conceptual hold? That’s what’s at stake. Woods’ art presents the truth of her convictions enacted onto nothing more and nothing less than the anatomy of her materials.

* Freely adapted from quotes, see Abraham Joshua Heschel, Man Is Not Alone, A Philosophy of Religion.