Al Freeman - Loup Sarion
30 January - 22 March 2019
Al Freeman (b. 1981, Toronto, Canada) lives and works in New York.
She received her B.F.A. from Concordia University in 2005, and her
M.F.A. from the Yale University School of Art in 2010. Her work has
been the subject of numerous solo presentations, including recent
exhibitions at Bortolami, New York; and 56 HENRY, New York.
Freeman’s work has featured prominently in exhibitions both stateside
and abroad, including recent presentations at Carl Kostyál, London;
Nicelle Beauchene Gallery, New York; Chateau du Feÿ, Bourgogne;
CUE Foundation, New York; Almine Rech, New York; Marlborough
Contemporary, New York; Reyes Projects, Detroit; Galerie Alegria,
Madrid; and Stems, Brussels. In 2017, Freeman published Comparisons
with Flat Fix, Brooklyn
Sorry We’re Closed is pleased to present TUFF TITTIES, an exhibition
of new work by Al Freeman and Loup Sarion.
Comprising a group of soft sculptures by Freeman, and a set of wall-mounted works by Sarion.
TUFF TITTIES marks Freeman’s and Sarion’s first exhibition
with Sorry We’re Closed.
Al Freeman’s soft sculptures are stitched vinyl forms that hang on the
wall. Loosely stuffed with polyester, the works reproduce familiar
objects with blocks of solid color in a manner that simplifies their
visual referents. Replacing rigid geometries with flaccid forms,
Freeman’s sculptures are bound by a deflationary impulse, one that
drains objects of their virility and invests them with humor. Included in
the exhibition are works that variously depict a kitchen knife, a package
of Saran wrap, a ball-point pen, a sex toy, and a brick wall. Taken
together, Freeman’s sculptures assemble a group of padded proxies
that sap common products of their specific utilities.
Loup Sarion’s wall-mounted sculptures each approximate the shape of
a tongue. Made of fiberglass and coated with a mixture of resin and
pigment–which Sarion buffs to various levels of reflectivity–the works
enlarge their referents to an unnatural scale. Alternately plump and
recumbent, or narrow and drawn-out, the sculptures extend from the
wall in relief anywhere from six to eighteen inches. Some of the
tongues are naturalistically hued, colored with warm pinks and darker
reds, but others appear beset with disease, featuring discolored patches
on white expanses. Isolating an anatomical feature, Sarion’s sculptures
render rigid the forms of a complex muscle, in a manner that separates
organ from function.
TUFF TITTIES gathers uncomfortably large objects that exploit
familiar forms to humorous effect. In making hard what was previously
soft, or making soft what was previously hard, Freeman and Sarion’s
sculptures transgress their subject matter to pervert their purpose.
Exaggerating the scale of a human tongue, or deflating the density of a
brick wall, the works on view assemble a debased vision of corrupted
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