In my recent work, I explore the linear language of drawing in sculptural space. Expanding on the lexicon of gestural abstraction, I manipulate colored monofilament and other tendril-like materials in site-specific, largely temporal installations and works on paper. I mean to construct a kind of meaty ephemerality—an accretion of marks and their shadows delineating maelstroms of visual commotion; a teeming, jittery expanse in suspended animation. I encourage the viewer to “read” these pieces beginning anywhere they wish, and to engage with the work’s riff on perceptual cacophony, psychic noir, dust and weather.
Gelah Penn received her BFA from the San Francisco Art Institute. Her work has been exhibited in commercial and alternative spaces, including: Smack Mellon, Sculpture Center, McKenzie Fine Art, Jack Tilton Gallery (NYC); Brattleboro Museum (VT), Museum of Arts & Crafts (Itami, Japan); Real Art Ways, (Hartford); Carl Berg Gallery, Jancar Gallery (Los Angeles); Vox Populi (Philadelphia). Her work has been reviewed in various publications, including The New York Times, Art in America, The Los Angeles Times, and The Brooklyn Rail. A catalogue essay by Peter Frank accompanied the artist's solo exhibition, “The Narrow Margin,” at Rowan University Art Gallery and another essay by Sarah Schmerler accompanied “Detour” at Kentler International Drawing Space. Upcoming exhibitions include Carl Berg Projects (Los Angeles), Allegra LaViola Gallery (NYC), and Arkansas Arts Center.