Ryan Wallace

Back

Images

Capsule 2016, 56 Henry, New York, NY

Dragnalus, 2016, Cooper Cole Gallery, Toronto, ON, Canada

Karp/Rye 2015, Gerhard Hofland Gallery, Amsterdam, Netherlands

LD50, 2015, Romer Young Gallery, San Francisco, CA

LD50, 2015, Romer Young Gallery, San Francisco, CA

The Standard Model, 2015, Mark Moore Gallery, Los Angeles, CA

Slo Crostic, 2014, Susan Inglett Gallery, New York, NY

Slo Crostic, 2014, Susan Inglett Gallery, New York, NY

Redactor 1, 2014 / enamel, acrylic, crystalina, glass powder, pigment, cold wax, glass film, tape, and vinyl on canvas / 72 x 60 inches

Redactor I, 2013 / enamel, acrylic, crystalina, glass powder, pigment, cold wax, glass film, tape, and vinyl on wood panel / 80 x 60 inches

Redactor X, 2013 / enamel, acrylic, crystalina, glass powder, pigment, cold wax, glass film, tape, and vinyl on canvas / 60 x 48 inches

Atlas II, 2012 / Oil, enamel, acrylic, ink, lithograph, inkjet, vinyl, tape, paper, PVA, and Mylar on canvas / 90 x 140 inches

Installation: Minutes to Midnight, 2011 / Wild Project, New York, NY

Untitled 1.13 (Tablet - Violet Screen), 2013 / enamel, acrylic, PVA, Mylar, cold wax, crystalina, and pigment on canvas / 48 x 36 inches

((Ω.))) Cycle III, 2012 / Ink, monotype, lithograph, and crystalina on paper / 76 x 126 inches

Polemic, 2012 / Oil, enamel, ink, graphite, PVA, mylar, artist tape, and cut paper with wooden frames / 50 x 360 inches
Installation: Cooper Cole Gallery, Toronto, ON

Consensus IV, 2012 / Alumilite resin, oil, enamel, inkjet, automotive-tint, Plexiglas and MDF / 48 x 10 x 10 inches

(((Ω.))), 2011 / Installation: Guerrero Gallery, San Francisco, CA

Cusp, 2012 / Installation: Morgan Lehman Gallery, New York, NY

((Ω.))) Cycle I, 2011 / Ink, monotype, lithograph, and crystalina on paper / 110 x 110 inches

Estimated Time of Departure, 2011 / Ice, wire, surge protector, glass, Mylar, metalized Mylar tape, electric tape, paper clip, and mirrored Plexiglass / dimensions variable

Biography

From Chardin's Omega Point theory to Pollock's gestural abstraction, the influences of Ryan Wallace's (b. 1977, New York) interdisciplinary work span radically diverse concerns. Related primarily through existentialist core principles, the miscellany of ideas present in Wallace's work manifest the complexities of the metaphysical as well as the clarity of total consciousness. Wallace taps into the visceral nature of Suprematism while simultaneously conjuring the bodily experience of Light and Space; a marriage between the cognitive and intuitive that occupies a dimensional, non-linear space. Shredded tape, vinyl screens, wax, and other discarded studio materials converge upon a single plane as Wallace reconstitutes detritus from previous works and forges new abstractions. Through this technique, he visually articulates the most alluring notions of evolution - manipulating the physical and metaphorical layers inherent to our perception. Wallace received his BFA from Rhode Island School of Design (RI). He was the 2011 recipient of the Pollock Krasner Foundation Grant, and has had solo exhibitions in Copenhagen, Los Angeles, San Francisco, and New York. He has also shown work at the Frans Masereel Center (Belgium), Torrance Art Museum (CA), Katzen Arts Center (D.C.), Yerba Buena Center for the Arts (CA), and numerous other venues around the world. His work is featured in the public collections of the U.S. Department of the Treasury (D.C.), the Museum of Modern Art (NY), the Museum of Modern Art, San Francisco (CA), and the Cleveland Clinic (OH), among others. Wallace is also represented by Cooper Cole Gallery (Toronto), Marianne Friis Gallery (Copenhagen), and Susan Inglett Gallery (New York). The artist lives and works in New York.