Trisha Donnelly at Air de Paris

Regardless of being so typically deemed a Conceptual artist, Trisha Donnelly is infamous for her disinclination to offer viewers with any hermeneutic parameters for navigating her work. As at all times, there isn’t any press launch or guidelines obtainable at this solo present, and the artwork itself is implacably taciturn and unamenable to imposed interpretations. However, it undeniably instructions consideration, and viewers are left to come across it with the recourse of little else apart from their senses.

The exhibition includes 4 marble sculptures (all Untitled, 2023) considerably harking back to Donnelly’s earlier stone monoliths, though geometrically exact in a fashion much more architectural. The customer’s passage by way of the present is decided each by the format of the gallery and the sequencing of the works. Every object occupies its personal room-size space, and there is just one vantage level, on the very finish of the gallery, from which two are seen directly. But even from this attitude, each sculptures appear to stake an unique declare on the viewer’s gaze.

The primary sculpture is grey and upright, a stout slab with superb strains carved into its convex entrance facet and gouged sections elsewhere. The second is comparable, although taller, with extra severely chiseled fissures whose crimson complexion inescapably evokes open wounds. The fourth piece can also be upright, however it’s far thinner and eschews the interaction of technological exactitude and bodily misery in favor of an oaky end. The third and most arresting art work is a protracted, slender kind that lies horizontally on the ground and terminates in a tough nub of unpolished marble. It paradoxically remembers fragments of each sci-fi artillery and classical ruins. On this sense, it typifies the way in which by which the entire items are imbued with an indeterminant temporality, as if missives from each the distant previous and the long run.

— Daniel Neofetou