Light/Shadow (After Alfred), 2016. Oil on canvas, 45.75 x 62 in
Ours, 2019. Papier-mâché, paper, wood, gouache, wire, nails, 34.25 x 10.5 x 11.75 in
Hollow Bones, 2019. Papier-mâché, gouache, bones, plastic cup, thread, nails, 51 x 22 x 5 in
Alternate view: Ours, 2019.
Alternate View: Hollow Bones, 2019.
Nobody’s World, 2019. Digital print, wood, glue, 11 x 8.75 x 5.5 in
Untitled (Exhibition Announcement, 2005), 2019. Unique digital print, 32.75 x 22.75 in
Alternate View: Untitled (Yellow Knot), 2018.
Gate (Rome), 2011. Gouache on paper bag 11.75 x 11 x 2.75 in
Hang in There, 2018. Glazed ceramic, wire, clay, gouache, 31 x 5.5 x 4.5 in
Untitled (Rearranged), 2015, Paper pulp (recycled drawings), stick, string, nail, plastic spoon, Styrofoam cup, 17 x 24 x 6 in
Feather Moon, 2019. Unique digital print, 16.25 x 11.5 in
Take, Make, Use, Lose, 2018. Papier-mâché, gouache, wire, plastic bag, nails, 49 x 19 x 10.75 in
Silver and Blue, 2016. Paper and acrylic on canvas, 24 x 20 in
Alternate view: Gate (Rome), 2011.
Between Two Bodies, 1998. Bronze, 10.5 x 8 x 8 in, Unique
Siobhan Liddell, Nobody’s World
March 3 – April 21, 2019
Gordon Robichaux is pleased to announce Nobody’s World, an exhibition of paintings, assemblages, and photography created by Siobhan Liddell over the past twenty years. In conjunction, Liddell has curated a group installation of artwork by sixteen artists presented in the smaller room of the gallery. Conceived of as an annex to the artist’s imagination, the group of works by Etel Adnan, Leilah Babirye, Beverly Buchanan, Leidy Churchman, Marley Freeman, Magdalena Suarez Frimkess, Robert Gober, Gordon Hall, Judy Linn, Mary Manning, Donald Moffett, Monique Mouton, Signe Olson, Gertrud Parker, Paul Mpagi Sepuya, and Sue Tomkins “expand [her] process and community,” creating “a shared space; a give-and-take.”
Through simple gestures, Liddell transforms humble materials—papier-mâché, string, ceramic, wire, plastic cutlery, sticks, a shopping bag—into tender, delicate constructions. Each work is a site of perception, both a fragment of a larger world and whole and complete in itself. Invested in “the delight and mystery of materiality” the work evokes the body, as both a home for spiritual and emotional consciousness and a reflection of our own vulnerability and mortality. References to nature—leaves, the moon, a feather, branches, bones, a shell—reflect the cycles of life and death. Moving freely between the material and immaterial, Liddell summons the viewer into a poetic cosmology of intuition, emotion, and experience made visible, what she calls: “watching with your heart and listening with your eyes.”
Siobhan Liddell (b.1965 Worksop, England) lives and works in New York City. She is a graduate of Central Saint Martins School of Art in London. Liddell’s work has been the subject of solo exhibitions internationally including at CRG Gallery and Thread Waxing Space in New York; the UCLA Hammer Museum in Los Angeles; Galerie Eric Dupont in Paris; the Henry Moore Institute in Leeds, UK; Bob Van Orsouw in Zurich, CH; and CCA Kitakyushu in Japan. Her work has been included in numerous group exhibitions, notably Witness: Against Our Vanishing (curated by Nan Goldin) at Artists Space; the 1995 Whitney Biennial; the Yokohama Triennale; the Musée d’Art Moderne de la Ville de Paris; the Contemporary Arts Museum, Houston; the New Museum, White Columns, Sikkema Jenkins Gallery, and Paula Cooper Gallery in New York. Her work is in the collection of the UCLA Hammer Museum; the Whitney Museum of American Art; and the Dallas Museum of Art. Reviews of her work have appeared in The New York Times, The New Yorker, Frieze, The LA Times, Village Voice, Art on Paper, and Flash Art.
She has collaborated with artists, dancers, poets, and musicians and was the recipient of the Rome Prize, Foundation for Contemporary Arts Grant, and the Joan Mitchell Foundation Award. She has published numerous books including Young Girl Slipping, published by CCA Kitakyushu and Korinsha Press (1998); The Unnamable (with excerpts from The Unnamable by Samuel Becket and The Hour of the Star by Clarice Lispector), published by Galerie Eric Dupont (1995); and Siobhan Liddell, a collection of drawings accompanied with poems by Fiona Templeton, published by Thread Waxing Space (1993).
Untitled, 2013. Oil on canvas, nails, 41 x 22.75 in
Falling Awake, 2018. Rope, plastic cutlery, gouache, string, 19.75 x 11 in
Alternate View: Silver and Blue, 2016.
Untitled (Yellow Knot), 2018. Glazed ceramic, 10.5 x 9.25 x 2.75 in
Leaf Alone, 2019. Cement, sticks, shoelaces, papier-mâché, gouache, acrylic, aluminum, plastic cup, 93.5 x 77 x 20 in
Between Worlds, 2003-2019. Felt, nails, 108 x 42 in
Habits of Nature, 2016. Oil on linen, 42 x 32 in
This Century, 2018. Glazed ceramic and digital print, 7.75 x 7.75 x 3.25 in