Lulu, Mexico City

April 13 – May 16, 2018

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It might not be the most obvious pairing. Exactly what Ella Krugylanskaya’s loose gestural depictions of voluptuous women have to do with Matt Paweski’s preternaturally precise abstract sculptures may not seem immediately apparent. But consider it. The fleshy rotundity of buttocks and breasts in Krugylanskaya’s rapidly limned sketches vis-à-vis the carefully incised recti-and curvilinearity of Paweski’s metal objects. Behold the tension generated by these two very different forms of making (even though Matt’s sculptures, which start from drawings, contain a decidedly graphic element, while Ella’s bodies wield a marvelously volumetric quality). Curiously, looking at his sculptures—painstaking, box-like, seemingly industrially produced forays into constructivism–against her elaborately dashed off drawings, the sculptures begin to assume a coy corporeal presence. It’s almost as if bodies were nested deep within their curves. Matt does, after all, call his unpainted works—one of which is presented here—nudes. Meanwhile, in contrast to the contours, flaps and folds of his objects, Ella’s bikini-clad, bombshells take on a markedly abstract character. Against his roiling geometry, her anatomies are liable to vacillate between a gorgeous welter of mark making and a collection of circles and fleeing lines. Never mind that both bodies of work visibly push up against boundaries (of the paper, of the sculpture’s limits) artificially imposed on them….





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