Sam’s paintings are literal meetings of marble and canvas. While the primary composition is often created from broken marble remnants or other cut stone, the surrounding color field is a puzzle-piece of canvas. The hand-made sections do more than fill the gaps of the stone, they also impose the rectangle of a “traditional painting” that is often skewed or broken by the outcroppings of the solid rock.
The two materials also play between the architectural function of the marble (notice the scars of the marble’s previous life as a table, countertop or cut-off remnant) and the pure aesthetics of abstract painting. Moyer’s incredible gift is creating both the complex problem and satisfying solution, with an invitation to every viewer to imagine that process.
This new work is an intriguing evolution of her material. Previously, the canvas sections in Moyer’s works were painted with thin layers or splatters of acrylic paint that really played with the idea of “paint on canvas” next to the rock. This new work however, adds a layer of plaster to the canvas before it was painted. Therefore the surfaces don’t feel or look like fabric, but themselves resemble stucco walls or classic frescos. These new velvet-like surfaces of plaster-coated canvas absorb the light in strong opposition to the often-polished marble. This new material contrast of two sculptural surfaces adds an incredibly satisfying element of light play when viewing these in person.
In addition to the works on the wall, Moyer’s self-supporting sculptures occupied a darkly-lit room off the main gallery space. Titled “Dependents”, each are created from the pairings of cut stone and hand-poured concrete elements. Literally dependent on each other for support, these large puzzle pieces balance with no other means of security. Alluding to the passage of time and erosion, the concrete sections incorporate small stones found on the beaches of Long Island that are revealed through sandblasting after casting.
Check out the
The exhibition at Sean Kelly Gallery is closed, but Moyer’s exceptional outdoor sculpture
These massive “doorways” merge two famous rocks within Manhattan: the indigenous bluestone of the land itself, and the imported polished marble of corporate lobbies. The doors feel particularly welcoming right now in a city that’s increasingly re-opening and re-blossoming every day.
The work (and its title “Doors for Doris”) pays homage to the incredible Public Art Fund founder, Doris C. Freeman (1928-1981). Check out more about the work on the
Artwork & Installation photography by JSP Art Photography, courtesy the artist and