The artist's wall-mounted sculptures debut at a solo exhibition at The Journal Gallery as part of his ongoing 'Networks' series.
Having walked away from his eponymous fashion label in 2005, Helmut Lang has spent the past decade and a half channeling his creativity into studio art. His art world debut came in the form of a voyeuristic mirror installation at The Journal Gallery back in 2007. Since his start at The Journal Gallery, Lang has been prolific with shows worldwide ranging from Alles Gleich Schwer in Hanover, Germany , to solo exhibitions at his gallery Sperone Westwater in New York .
In his new body of work, Lang delves into an exploration of connections. The series of wall mounted sculptures, six of which are on view, curiously enough, at The Journal Gallery once again, deploy the mesh of cotton canvas as sites of network building. Within that grid system, wax, resin, and tar are free to establish their own systems of interdependence, registering forms of differentiation, transformation, and erasure as they move through the canvas.
Although you moved away from fashion, your canvas pieces continue to allude to diverse life forms through themes of growth, transformation, and decay. Do you find there are more possibilities to reflect on the human condition and biological forms more widely through art? And you produce these works in your Long Island estate, which I imagine as a space of retreat and safety. Is there more solitude in your art practice than in your previous work as a designer? Do you find that comforting?
I do sometimes. I give every part of my work as much time as needed, and I also let it sit in the studio for quite some time after and get back to it whenever I feel like until I am sure I want to hand it over to the public.Materiality continues to be an integral part of your practice, particularly the use of rubber and now, with Networks, the mesh of cotton canvas.
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