R E YN O L D S F I N E A RT presents
Sarah Tortora
For inquiries please contact:
Reynolds Fin e Art 96 Orange Street New Haven, CT 06510 203.498.2200 info@reynoldsfineart.com
www.reynoldsfineart.com
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Sarah Tortora In the First Place Wood composites, acrylic & latex paints 39” x 13” x 13”
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Sarah Tortora Swage Wood composites, acrylic & latex paints 24” x 11” x 13”
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Sarah Tortora The Sprawl Wood composites, acrylic & latex paints 24” x 23” x 16”
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Sarah Tortora Untitled Wood composites, acrylic and latex paints 30” x 13” x 11”
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Sarah Tortora Bushwick Eagle Wood composites, acrylic and latex paints 16” x 17” x 12"
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Sarah Tortora Glacial Wood composites, plywood, acrylic and latex paints 72” x 15” x15”
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Sarah Tortora Untitled Wood composites, acrylic and latex paints 11” x 9” x 4”
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Sarah Tortora Courier Wood, wood composites, plaster, casters, acrylic, latex and spray paints 79” x 15” x14”
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Sarah Tortora Ouroboros in Waiting Wood composites, plywood, latex and acrylic paints 55” x 12” x 16”
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Sarah Tortora Duckface Wood composites, acrylic latex and spray paints 26” x 10” x 13”
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Sarah Tortora Delinquent Wood composites, plywood, Styrofoam, sand, acrylic and latex paints 30” x 36” x 24”
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Sarah Tortora Primer Plywood, fiberglass, latex paint 40” x 12” x 16”
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Sarah Tortora Soft Vector Wood composites, acrylic and latex paints 12” x 8” x 7”
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Sarah Tortora Power Bottom Wood composites, acrylic and latex paints 10” x 8” x 4”
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Sarah Tortora Untitled Wood composites, acrylic, latex and spray paints 20” x 16” x 12”
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Sarah Tortora Untitled Wood composites, acrylic, latex and spray paints 30” x 8” x 10”
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Sarah Tortora I create sculptural works that hover between comfortable semblance and sovereignty, consisting of structures that flirt with allusion to historical artifact, furniture, architecture, utilitarian fixtures, social archetypes, or mechanisms of display. Their anthropomorphic or relational scale suggests the potential for human intervention, but they remain amalgams whose function lies in a perpetual frustration of identification. These sculptures become sites for projection: as facsimiles of archetypal objects, analogs of speech-acts, impostors of icons, or signs that disclose the structure of their presentation. My work is strongly informed by language: the qualification of the sculpture by the pedestal is akin to that of the subject by the predicate. My wall sculptures, more image-based, may evoke depictions of written punctuation or individual characters of an alphabet. I believe definition, specificity, and permanence to be fallacies of language. Sculpture can exist as a denial of language, embody an unwillingness to define, or a resistance from surrendering to the disjunction between classification and being. I aim for my work to capture this in-between state, in an always-thwarted attempt to merge these two desires. My work strives to objectify the threshold that exists between subject and direct object; to build that which simultaneously belongs to both and neither. I am interested in that void as artifact; the negative space between Andromeda and the rock; and the unspoken syntax that governs our desire for the world.