Julien Creuzet: Flapping feathers our hands our wings glimmer to dance the orange sky
Andrew Kreps Gallery
New York | USAAndrew Kreps Gallery is pleased to announce flapping feathers our hands our wings glimmer to dance the orange sky, an exhibition of new works by Julien Creuzet at 394 Broadway, the artist’s first exhibition in New York.
Both skeletal and architectural, Julien Creuzet’s materially dense sculptures weave together his own lived experience with the broader, social reality of the Caribbean Diaspora, which is the result of shared history but simultaneously, has produced a multitude of outcomes. Abstract in appearance, the works’ metal armatures are drawn from maps, topographies, and an array of other images. The resulting forms slowly accrue media, found and new plastics in kaleidoscopic color, detritus, torn fabric, varying textures, and the vestiges of Creuzet’s own touch, creating an accumulation of material that feels like the aftermath of moving through time and place. In dialogue with Creuzet’s writing practice, the titles of his sculptures are excerpted from his own poetry and function as a point of entry, connecting the tangible, historical references within the work with the concerns of the present. Resisting a finite narrative, and remaining open-ended, Creuzet’s sculptures are embedded with the anxieties of impending climate crises, the question of emancipation, and a desire for Black affirmation.
Andrew Kreps Gallery is pleased to announce flapping feathers our hands our wings glimmer to dance the orange sky, an exhibition of new works by Julien Creuzet at 394 Broadway, the artist’s first exhibition in New York.
Both skeletal and architectural, Julien Creuzet’s materially dense sculptures weave together his own lived experience with the broader, social reality of the Caribbean Diaspora, which is the result of shared history but simultaneously, has produced a multitude of outcomes. Abstract in appearance, the works’ metal armatures are drawn from maps, topographies, and an array of other images. The resulting forms slowly accrue media, found and new plastics in kaleidoscopic color, detritus, torn fabric, varying textures, and the vestiges of Creuzet’s own touch, creating an accumulation of material that feels like the aftermath of moving through time and place. In dialogue with Creuzet’s writing practice, the titles of his sculptures are excerpted from his own poetry and function as a point of entry, connecting the tangible, historical references within the work with the concerns of the present. Resisting a finite narrative, and remaining open-ended, Creuzet’s sculptures are embedded with the anxieties of impending climate crises, the question of emancipation, and a desire for Black affirmation.