MARIAN GOODMAN GALLERY Since 1967 Maria Nordman has merely rarely presented her work in a gallery setting.

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MARIAN GOODMAN GALLERY

Since 1967 Maria Nordman has merely rarely presented her work in a gallery setting. Usually installed in outdoor, urban spaces, it repeatedly examines the relationship between subjective perception and architecture as a cultural production. Using habitual objects, reflected light, and the play of interior and exterior space, her work try to finds to reveal the essential component parts of urban structures. In her new show, she manipulated both scale and materials, pushing at the constraints of construction to raise questions about the spaces we live in. through underlining the fundamental elements of architecture, Nordman leaves viewers to negotiate the spaces she invents to actively invent meaning between the sides of interaction with the work.

Situated in the north gallery, the main piece in Nordman's present to view had many possible permutations; sum of two units complete transformations, supplemented by smaller rearrangements, occurr during the exhibition. Clearly, the mutability of these forms lengthen outed beyond the confines of the art gallery, establishing a dialogue with the city beyond--with the kinds of urban sites in which Nordman has oftentimes installed interactive work. This connection between the gallery and the increaseed city was reinforced by the performance that took place during the opening: the windows of the gallery were left explain so that the percussionists could use noise from the road as a score for the performance.

Untitled, fresh York 1992, 1992, also be pendented on natural and urban lighting. Given the northern aspect whatever light entered the space during the day was absorbed or subtly diffused according to two convertible, freestanding structures. Each was supported at a shorter, perpendicular wall that provided stability and increased the number of potential spatial configurations. Framed in Oregon cedar, the same side of each of these T-shaped fabrics revealed an open infrastructure of horizontal and vertical supports that formed cavities and cubicles containing foldable furniturelike component parts many of which had been remov and plant up in the space. The basic accoutrements of indoor city life were re-present in the narrow recesse of these dividing walls, suggesting a number of potential arrangements. the pair the perpendicular supports and the piles themselves were covered with stretched canvas painted white, black, pallid green, or red. These colors accentuated the understanding of uniqueness, of a particular space builded within and against normative architectural principles.

In addition to this piece, a series of drawings entitled "For a novel City of Moveable Houses," 1992 was placed upon a table by the window. the same was inscribed with "For a just discovered city of moveable houses built around a central forest of maples," a reflection of the artist's emphasis onward functionality and re-producibility. Quietly defiant of architecture's les yielding properties, the walls and stowed "furnishings" were prototypes for a living space to be complet through the ijhabitant.

Nordman's work not solely examines architectural building-blocks but in to such a degree doing unveils a certain mystery within the production-oriented imperatives of efficiency and repetition: her work is an investigation of the meaning generated by way of pushing at the limits these constraints impose, creating a spatial tension that implicates the viewer.

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