It happened a few months ago, when I was reading an article published on Vogue, which it was dealing with a weekend in Berlin, that I found the work of a young artist from New York, Avery K Singer.
Born in 1987, Avery K Singer has gained a place for an art exhibition in a State-of-art gallery in Berlin, called The Kraupa – Tuskany Zeidler. The artist's works represent a mix of Cubism, neo-Plasticism, Constructivism and 3D animation, from the abstract to the concrete. It seems a “Tale of Ordinary Madness”, like Bukowski would have said. The Saturday Night scene releases a little bit of an early nostalgic flavour which comes out from a bottle full of Morandian echos. The protagonist falls on a counter. Everything seems a loneliness made of volumes and shadows, white, black and grey colors, conflicting dichotomies, alcohol and happy memories which are believed to be presumed. Everything is sculpture, a sculpture full of pain which turns into tired and rainy shadows. It seems to hear from afar the Tom Waits' rough voice that sings Blue Valentines, like a heart-rending echo.
Avery K Singer has been given us some acrylic paintings on canvas, on a black and white background, until now. She gives her works of art a suspension effect, like it was a mute film of the 30s. She realized some astonishing works, entitled “Performance Artists”, “The Great Muses”, “Interrogation Spotlight”, “Dancers around an Effegy to Modernism”. They are real constructions, mise-en-scenes, that seem to dialogue, instead of hailing from the past.
It is an authentic reconstruction of a true story, located at the present time. Avery K Singer let her art submit towards the primitive and mechanic, the antiquity and the future.
It wasn't impossible to avoid devisiting the angularity of the great Picassian masterpiece “Demoiselles d'Avignon”, the cubist plasticity, or the reconstructional conception of the Universe in a rational and geometrical way. In addition, it wasn't impossible to forget finding back the classical puppets, the dummies, the typical muses of the Dechirichian memory, in those standardized frozen and metaphysical situations which only Avery K Singer is able to create.
The influence of the black masks, the multiple points of view, the treatment of the geometricized and mechanomorphous bodies, plastical and independent shapes which descend from the psychical and logical perceptions.
Everything is oriented towards this concreteness, which is loved and eulogized by the cubist painters. The version represented by Avery K Singer is an instance of a substituted life, it can be described as the alcoholic side of dreams and visions. The young artist from New York is inspired by the great historical Avant-garde, she treasures this kind of artistic tendency, she takes care of her secrets, she reelaborates them, she gives her secrets a new and contemporary scent.
The Singer's painting is a nostalgic, but at the same time ever-functioning music box. The characters are usually crossed by grilled shadows. Horizontal and vertical lines meet each other like they were secret and contorted jails, or prisons full of memory from whom come out fleeting looks. Those who love admirating these masterpieces are, for sure, gorgeous and jealous of these visionary microcosms.
Moreover, in works like “Fellow Travelers, Flaming Creatures”, it seems that a talented new fashion photographer or a geometricized Avedon takes pictures of iconic models whose hair turns into real rungs and it seems that their heights keep on leading towards a gravityless lack of though. Everything is located in a crazy photographic set, obviously. What counts is the shape.
Her works realized in 2012 and 2011 are characterized by the presence of an inspiration, descending from the classical Picassian primitivism, surrounded by several solitary and naked geometrical muses. The blacks and the whites are fused on greyscales, between volumes and abstractions, which give us a transcendental and sober atmosphere, fashionable, like we were behind a vodka Martini olive juice, the typical cosmopolitan New York City cocktail, that is elegant and light, with nuanced colors and a bit of ash, fade and as a consequence a rational and plastical depot.
She plans and register quiet mechanical and bittersweet mises-en-scene. Avery K Singer will continue to wonder us, for sure.