Carrie Yamaoka blue x clear + 12:1 May 9th - June 15th, 2002 opening reception: Thursday, May 9th, 2002 New York Times review º New Yorker review º current Time Out/NY review º previous Time Out/NY review Debs & Co. is pleased to present a body of new work by Carrie Yamaoka. This will be her third show with the gallery. For the last seven years, Ms. Yamaoka has made reflective and optically disturbing paintings of mylar encapsulated in resin. In this new work, many of the paintings are freed from her traditional wood panel, making the paintings even less recognizable as paintings. Some works now utilize a cast rubber backing for their support, resulting in objects that bend or ooze to the floor, or rumple on the wall. This "rubberiness" disrupts the flow of light into further waves of distortions. Other works exist without anchoring panels at all: resin-coated color pours are freed from their original matrices. They are mounted directly to the wall, or hang barely seperate. The artist has also successfully created ways to saturate colors in layers of clear resins. This results in very "acidy" yellows and greens and purples, disturbing in their chemical forcefulness. In this show, Ms. Yamaoka begins her trip in the mute formalism of the 1960's, but is clearly more interested in a futuristic super-painting, free of history and static content. She revels in the science fiction potential of her materials and the cool delight of paintings that refuse to remain the same from minute to minute. Carrie Yamaoka lives and works in New York City. This will be her seventh solo exhibition. She has recently exhibited at Clairefontaine in Luxembourg, at Aeroplastics in Brussels, at the San Jose Institute of Contemporary Art, at Bard College, and Rutgers University. Her work will be included in the upcoming Painting as Paradox exhibition at Artists Space, New York City. ____________________________________________________________ in the project room: CARRIE MOYER In the project room, the gallery will present Meat Cloud, a new six by seven foot painting by Carrie Moyer. Rushmore-like visages of Marx, Lenin, and Mao fade into the painting's pink historical distance. Forefront, a frightening and glittery blood swarm hovers. Milky violet streaks trace upwards, erasing the concreteness of conviction. Ms. Moyer had a well-received solo exhibition earlier this year at the Gallery on Green Street in Boston, and has appeared most recently in New York in Unjustified at Apex Art, curated by Kerry James Marshall. Her activist collaboration with Sue Schaffner, Dyke Action Machine, is currently enjoying a 10 year anniversary retrospective at the Yerba Buena Center for the Arts in San Francisco.