Phillip Maisel
As It Lays
July 12 – August 29, 2018
Opening Reception: Thursday, July 12, 5 - 7:30 PM
Sleeping Hands (3042), 2018
Archival pigment print, lighting filter, wax pastel on panel
42.75 x 30.75 inches
Sleeping Hands (3042) (side view), 2018
Archival pigment print, lighting filter, wax pastel on panel
42.75 x 30.75 inches
Sleeping Hands (3103), 2018
Archival pigment print, lighting filters, wax pastel on panel
21.5 x 15.5 inches
Sleeping Hands (3103) (side view), 2018
Archival pigment print, lighting filters, wax pastel on panel
21.5 x 15.5 inches
Sleeping Hands (3101) , 2018
Archival pigment prints, lighting filter, wax pastel on panel
21.5 x 15.5 inches
Sleeping Hands (3101) (side view), 2018
Archival pigment prints, lighting filter, wax pastel on panel
21.5 x 15.5 inches
Sleeping Hands (2994), 2018
Archival pigment prints and mixed media on panel
42.75 x 30.75 inches
Sleeping Hands (2994) (side view), 2018
Archival pigment prints and mixed media on panel
42.75 x 30.75 inches
Sleeping Hands (3062, 3068), 2018
Archival pigment prints, colored paper, and wax pastel on panel
14.5 x 10.5 inches
Sleeping Hands (3097), 2018
Archival pigment print and wax pastel on panel
42.75 x 30.75 inches
Sleeping Hands (3111), 2018
Archival pigment print, lighting filters, wax pastel on panel
21.5 x 15.5 inches
Sleeping Hands (3111) (side view), 2018
Archival pigment print, lighting filters, wax pastel on panel
21.5 x 15.5 inches
Sleeping Hands (3113), 2018
Archival pigment prints, lighting filter, wax pastel on panel
21.5 x 15.5 inches
Sleeping Hands (3113) (side view), 2018
Archival pigment prints, lighting filter, wax pastel on panel
21.5 x 15.5 inches
Sleeping Hands (3034), 2018
Archival pigment print and mixed media on panel
21.5 x 15.5 inches
Sleeping Hands (3034) (side view), 2018
Archival pigment print and mixed media on panel
21.5 x 15.5 inches
Sleeping Hands (3038), 2018
Archival pigment print and mixed media on panel
21.5 x 15.5 inches
Sleeping Hands (3038) (side view), 2018
Archival pigment print and mixed media on panel
21.5 x 15.5 inches
Sleeping Hands (3062), 2018
Archival pigment print and mixed media on panel
42.75 x 30.75 inches
Sleeping Hands (3062) (side view), 2018
Archival pigment print and mixed media on panel
42.75 x 30.75 inches
Sleeping Hands (3043), 2018
Archival pigment print, colored paper, watercolor, wax pastel on panel
42.75 x 30.75 inches
Sleeping Hands (3043) (side view), 2018
Archival pigment print, colored paper, watercolor, wax pastel on panel
42.75 x 30.75 inches
Exhibition view
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Gregory Lind Gallery is pleased to present As It Lays, a series of new works by Phillip Maisel. This is the artist’s second show with the gallery.
In the exhibition, a photographed series of geometric and architectural arrangements—including unfixed photograms, colored paper, and found photographs—coalesce and diverge, revealing a series of colors, patterns, and gestures that almost appear to be coded with their own symbolic language.
Drawing, painting, theatrical lighting gels, and scraps from previous printed works are added to the surface of most but not all prints, situating the work between collage and photography. Afterwards, the prints are mounted onto panels with edges painted to either match or respond to the corresponding image - the periphery extending or containing the frame.
As the materials accumulate from one piece to the next, Maisel’s unruly yet strangely cohesive collage becomes less integrated into the depicted space, creating an unexpected clash between the elements, as well as a sense of attenuated order.
Depth of space dances with the flatness of his chosen materials—and as forms shift, so do order and position. Although the sequence in the work is connoted by numbered titles, the add-on of collage material shifts the relationship of time inherent to each piece and disorients the viewer’s sense of progress and directionality.
The organic forms in Maisel’s work allow for a looseness, playfulness, and fluidity that seem to stand in opposition to the obsessive detail of his pieces. There is no sense of resolution or a final interpretation. Rather, the focus on multiple permutations, repetition, reconstruction, and layers roots us in a series of works that are more invested in process and discovery than predetermined outcomes.
Phillip Maisel (b. 1981, Chicago) lives and works in San Francisco. He completed his MFA in Visual Arts from California College of the Arts in 2013, and his BS in Psychology from McGill University in 2003. Solo and two-person exhibitions include Shulamit Nazarian in Los Angeles, Document in Chicago, and Pro Arts in Oakland. His work has also been exhibited at the William Benton Museum in Connecticut; The University of New Mexico in Taos; and DeCordova Museum in Massachusetts. Reviews of his work have appeared in Lenscratch, Art Practical, Modern Painters, Fabrik, Square Cylinder, and New City Art, among others. Maisel has lectured at the San Francisco Art Institute, California College of the Arts, and the Nueva School.