Carrie Moyer
“Analog Time”
New York, 535 West 22nd Street
Moyer’s use of abstraction continues to be a medium for sensations and this new body of work is a recollection of the last year spent largely in the twenty-five-block radius of her Brooklyn studio. Analog Time references a new appreciation for the intensity of daily life and a new sense of time that has fused mind and body, memory and imagination, micro and macro.
Largely known for her exuberant colors, a number of paintings in this exhibition embrace a “down-shift” in palette, with Moyer embracing grey, navy, and deeper green tones that anchor or weave throughout layers of more saturated pigments, as in Hell’s Bells and Buckets (2020). Small, tactile imperfections placed on the surface appear granular under opaque shapes, signifying the artist’s hand purposefully disrupting the canvas.
Carrie Moyer, Galaxyhymne (Galaxy Hymn), 2021, acrylic and glitter on canvas, 66 × 60".
Having spent time in Italy creating works on paper in the fall of 2019, Moyer returned inspired to further explore the medium’s capabilities for abstraction. These new works on paper are included in Analog Time. They were also a direct response to harshness and inequities of life beyond her studio. When speaking about this body of work, she states, “On paper, my fondness for a comic, sci-fi sensibility turned metaphysical and atmospheric through the repeated process of staining, salting, and spraying the surface with inks and water. Everything is saturated.”
