Andrea Carvalho at The Assembly, Hamilton
Andrea Carvalho, On-site, 2018, ceramic
A burst of burgundy interrupts the exhibition’s muted palette in the staging of eight tapered forms emerging from the wall like the tails of subdued whippets, while a colder aura arises from the mezzanine where Railing’s row of neon lights creates a distinct environment for two sculptures. Within this clinical yet cozy space, Contrapposto’s humanist qualities shine through stair spindles reassembled in faint figuration, flaunting a nude wood grain contrasted by the brown and copper finish on a round-edged plinth.
Triplicate spindles bent to pointed angles from the wall footing the gallery’s stairs could be mistaken for wooden counterparts to Contrapposto, smothered beneath a gloss of white paint. When revealed as slip-cast ceramics glazed to a luminous finish, they take on a fresh fragility that instills caution in one’s footsteps. In subtle citation of the show’s title, these forms pull shadows from the expansive front window and gallery lighting alike, casting a reflexive drawing on the wall that perfectly punctuates an exhibition whose objects nimbly illuminate the spaces in between.
Stephanie Vegh is an artist and writer who has exhibited her work in the UK and Canada, and publishes art writing and criticism both locally and nationally. She maintains an active profile in regional arts advocacy, and currently serves as Manager, Media and Communications at the Kitchener-Waterloo Art Gallery. She can be followed on Instagram @stephanievegh.