Raque Ford “Nighttime Grudge or How I Wanted to Be a Rockstar” at Greene Naftali, New York

ByMary E. Alvarez

Apr 4, 2022 , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,


You know when you are standing
And your sole is on the ground
And your heel is digging into the floor
And that minimal area in between them
Suitable there
That is the place I make a minor room for you

“Nighttime Grudge or How I Wished to Be a Rockstar” marks Raque Ford’s debut solo exhibition at Greene Naftali, featuring a new body of work that infuses abstraction with narrative probable. By turns slick and diaristic, intimate and bracing, Ford’s most current wall is effective and sculptures broaden the formal prospects of her signature materials: fragments of language incised into rigid sheets of coloured acrylic.

That complete imbrication of variety and articles – what 1 critic phone calls her “Plexiglass poetry” – spans her get the job done throughout two and three proportions. Panels of mirrored acrylic are etched with a spidery script and cite texts both equally authored and located, producing layered works that take a look at how id is cast as a result of the remnants of preferred society. An achieved printmaker, Ford has manufactured a suite of monotypes at the Robert Blackburn Printmaking Workshop, broaching new official territory with experimental procedures that defy the medium&#8217s strictures. &#8220I was turned off by the tidiness and fastidiousness of prints,&#8221 Ford recalled of her artwork college schooling but these exceptional operates manifest the exact playful eclecticism she provides to all she does, combining common intaglio processes like drypoint with embossed hippie flowers and pools of amazed watercolor.

At the gallery&#8217s heart are a team of platform dancefloors manufactured from tiled Plexi, its dazzling hues tightly equipped into colorful cladding for these very simple picket constructions. Ford&#8217s penchant for prefabricated and industrial resources ties her do the job to the legacy of minimalism, and these sculptures channel both equally the small-slung geometries of Robert Morris and the house-age Plexi packing containers of Donald Judd. The more direct referent, even though, is Felix Gonzalez-Torres&#8217s Untitled (Go-Go Dancing Platform) of 1991, a child blue plinth occupied for 5 sweaty minutes for every working day by a male dancer in silver lamé warm trousers. Subtler in her queering, Ford also embellishes her platforms to make house for feelings and impulses at odds with Minimalism&#8217s rigorous exclusions: flamboyance and female anger and unhappiness, want and a evening out at the club, with graffiti scratched into the toilet mirror that displays us back again to ourselves.

At Greene Naftali, New York
right until April 9, 2022


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