Tactile features figured prominently in the latest show by Brazilian artist Liene Bosquê for Dismissed Traces last October 14th. With sculptures and installations inspired by history, architecture, or memories that Bosquê captivated with the rich nuanced textures of the works on view.
The first items you see are broken plates and stacks of it that gave you wisps of Julian Schnabel but looking at the center of them that you find the Sepia toned facades of nearby Lower East Side buildings. It was a fitting tribute to the unique character of the neighborhood, which in the transom of one’s mind is best captured in the fleeting daily glimpses of said structures.
Castelo Plan (2013) also at the front of the gallery consisted of miniature reproductions of One World Trade Center tower and in this created metropolis that we are fascinated to view the citywide span as immediately New York City’s skyline or it can be any major city anywhere. The determination is entirely up to your memory or sensibility as to what city it resembles.
Towards the back of the gallery are the reliefs of sections and a video of the oldest standing African American church in Syracuse, NY, Amez Church (2014) had three latex impressions from the church and hung on the line to be viewed on both sides. The etched images from building details spoke volumes about the elapsed stories and memories expressed by the raised textures.
It can be said that such fragments or traces can hardly be ignored with the works displayed by Bosquê for this show. Memories are often dismissed based on choice or the rigors of time conditioning our thoughts. Art in this instance froze and suspended that moment to be remembered. Therein lies the transcendent power of art that makes all those traces solid and clear.
Liene Bosquê: Dismissed Traces
Exhibition Dates: October 14 – November 14, 2015
Gallery Hours: Tuesday to Saturday (10L30 am – 6 pm)
William Holman Gallery. 65 Ludlow Street. NYC, NY 10002
Art Review by: Oscar A. Laluyan
Photography by: Olya Turcihin