Anne Eastman, Sara Ludy, Yuri Masnyj

February 7 - March 9, 2014

Opening Reception : February 7, 2014 6-8 pm

Anne Eastman and Yuri Masnyj, installation view,
Yuri Masnyj, Untitled Condominium XO16, 2014 wood, paint, steel, paper, and styrofoam 24 x 80 x 32 inches
Anne Eastman, katespadefifthave, 2014 archival inkjet print and glass 85 x 44 x 10 inches
Sara Ludy and Yuri Masnyj, installation view,
Sara Ludy, Interior with Picasso, 2011 archival inkjet print 26 x 34 inches, 66 x 86.4 cm
Sara Ludy and Yuri Masnyj, installation view,
Sara Ludy, Entrance Plants at inVerse, 2013 archival inkjet print 32 x 42 inches, 81.3 x 106.7 cm
Anne Eastman and Yuri Masnyj, installation view,
Anne Eastman, fedexkinkosmidtwoneast, 2014 archival inkjet print 10.75 x 17 inches
Yuri Masnyj and Anne Eastman, installation view,
Yuri Masnyj, Untitled Condominium XO17,, 2014 wood, paint, steel, paper, and styrofoam 42.5 x 66.5 x 32 inches
Yuri Masnyj, Untitled Condominium XO17, 2014 wood, paint, steel, paper, and styrofoam 42.5 x 66.5 x 32 inches

Press Release

This is the era of hyper-development; development of buildings for homes, stores, and offices; development of technology for entertainment and for business. Development is meant to improve our lives and strengthen our economy, creating desirable places to live and work. The resulting built environments, in constant flux, often outpace the tempo of interpretation. Observing the architecture and design in these shifting landscapes they inhabit, the three artists in this show translate their experience through the filters of their practice.

Included in the show are Anne Eastman’s photographs of light reflecting off of glass storefronts, creating optical collages that record her movements through the mirrored architectural spaces of New York. Eastman writes “It seems like every new building in New York city has a glass exterior creating a layering of reflections over the objects and images behind their glass surface. If you shift your vision to focus on the reflective surfaces, reality collides with signs of consumer culture, architecture, space, and our own bodies.” What look like geometrically composed color filters are the result of cropped logos, banners, objects or whatever other design elements are behind the glass windows.

Yuri Masnyj’s work takes many of its cues from architectural modeling and design catalogs. Here he presents drawings and sculptures that could be miniatures or mockups of a booming city of condos under construction and the design objects that might fill them. Masnyj looks to the promise these models offer, unbound by the completion of any actual apartments. The ideal of a modern aesthetic is scrutinized in the areas on which he focuses his attention and detail, and in how his constructions never quite become accessible designs for living.

Sara Ludy photographs her computer screen as she wanders through Second Life, a virtual reality program inhabited by avatars and constructed by its denizens solely online. In her “Projection Monitor” series, Ludy focuses on the ways that architecture and interior design are translated into the virtual realm. Here constraints of the physical world (finances, living conditions, physics) are replaced by those of a technical sort, what one can program in an imagined reality.