NEW YORK, NY.- Friedman Benda
is presenting British artist Faye Toogoods second solo exhibition at the gallery, Assemblage 6: Unlearning.
Assemblage 6 marks a dramatic rupture in Faye Toogoods creative trajectory, in which she has set out to unlearn the process of design, and build it up again from scratch. This has led her to a conflation of furniture and sculpture, which draws upon the shifting perspectives encountered in childhood fables. The playful qualities of rough-hewn maquettes, broken up by the corrugations of crumpled paper and masking tape, are recast at functional scale daybeds, chairs and consoles, manufactured in cast bronze, wrought iron and rough canvas. Taken as a whole, the collection suggests how deceptive first appearances can be. Trompe-loeil effects imitate the twisted wires and taped cardboard of the original models, preserving the creative steps that led to their own genesis even as the true materials of their construction are disguised. The designs suggest the aleatory qualities of folk art or found objects yet every crinkle and crease has been carefully considered and recreated. And though they still evoke a moment of unforced naïveté, in which a shape is first roughed out, their imposing physicality betrays the involvement of numerous skilled hands. Glenn Adamson, Senior Scholar at the Yale Center for British Art, comments, Faye Toogoods new Assemblage is a tour de force of thinking and making, which hides in plain sight. Through an ingenious set of imitative processes, she and her team have devised a way to do justice to that first, instinctive moment that a form comes into being. There is tremendous energy in this moment, and each work in the Assemblage is in effect a monument to that quality of instantaneous creativity.
Faye Toogood was born in the UK in 1977 and graduated with a BA in the History of Art in 1998 from Bristol University. She founded "Studio Toogood" in 2008 and "Faye Toogood" in 2010, both in London. Recent international exhibitions of Toogoods include The Design Museum, Ghent (2020), Harewood House (2019), National Gallery of Victoria (2018-2019), Dallas Museum of Art (2018-2019), and the Pizzuti Collection of the Columbus Museum of Art (2018-2019). Her works have been acquired for the permanent collections of institutions worldwide, including the Philadelphia Museum of Art, Dallas Museum of Art, High Museum of Art, The Corning Museum of Glass, Denver Museum of Art and The National Gallery of Victoria in Melbourne.