Article excerpt

Covering the floor of this private foundation's neat L-shaped space with twenty smooth sheets of fine, sand-colored linen, Guillaume Leblon, for the first time, positioned his sculptures in relation to a traditional painterly platform. The presentation of seven new and recent works, united by this common backdrop as a single textured and permeable composition, echoes the construction of the exhibition's title work, Black Apple Falls, 2009-11. For this sculpture, punctuated by a darkened piece of fruit suspended from the ceiling by a thick piece of rope, Leblon arranged a series of objects across a rectangular panel laid horizontally across the floor and wrapped in black linen. He then mounted, on tiny wooden columns, eight rectangular panes of glass a few inches above the various elements taken from his studio, including a piece of plaid fabric, pencils, an X-Acto knife, and a miniature paper bush, each painted (or already existing) black or a shade of dark gray. The glass windows, positioned parallel to the black canvas base, framed various vignettes, defining tentative landscapes within a larger field of possibilities.

Meanwhile, Colette, 2011, a three-foot-tall cast-iron peg suggestive of a bent and rusty nail, seemingly pinned a corner of the exhibition's underlying canvas in place. Projecting from the floor, the sturdy metal bar, in its tapering width and subtle curve, maintained the lightness of a quickly sketched line--a visualization of both a preparatory sketch and a solid sculpture in the round. Line has always been important in Leblon's work, as in the juxtapositions of gently bending metal beams or found banisters with the sharp geometry of utilitarian cupboards, shelving units, or desks. …


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