"I yawn, I fidget, I smoke too much. Up till this I always had too little time. Now there is nothing but time. Almost pure time, empty successiveness.”
- C.S. Lewis, A Grief Observed
No eye, ear, nose, tongue, body, mind; No color, sound, smell, taste, touch, thing No realm of sight, no realm of consciousness No ignorance, no end to ignorance No old age and death, no cessation of old age and death
55 GANSEVOORT is pleased to announce the opening of Emptiness, on view from January 21st through March 7th at the gallery's storefront location.
Emptiness presents the artist’s newest body of sculptural work.
The several hundred pound sculpture is 12 feet tall and hangs suspended from the ceiling by an electric rotator, spinning continuously at a half turn per minute.
The piece itself is dense; a cluster made up of empty bottles and appropriated wine racks.
The wine racks are abstractions of a grape vine, with the prominent characteristics of a logarithmic spiral.
They are steel, chromed, powder coated and faux finished, in hues of wrought iron, copper and bronze.
These modular pieces are then strung together, balanced and looped onto the next, continuously. Nothing is welded or tied off.
The conjoined racks are filled with empty wine bottles, accented by the odd mineral water and liquor bottle.
Dylan Bailey's paintings, sculpture and installations are direct reflections of material and process. He employs objects – brass numbers that adorn the outside of a house, the caps of spray paint bottles and, now, domestic wine racks. Bailey’s various mediums are consistently overlapping as he develops new functions for his materials and their detritus.
Dylan Bailey (born 1985, Londonberry, Vermont) earned a BA from the Rhode Island School of Design. His work has been the subject of solo exhibitions at David Nolan Gallery and The National Exemplar in New York.
The exhibitions at 55 Gansevoort are entirely visible, at all hours, by peering through the windowed doors.
