Heather Rowe’s sculptures and installations occur at the intersection between art and architecture. Sharp planes activate negative and positive space, glass and mirror create disorienting effects, and screw holes, scuffs, and pencil marks leave traces of the history of construction. These structural works emphasize interiority, exteriority, light, space and materiality to generate formal and metaphorical situations, actively engaging the viewer.
For this exhibition, Rowe presents a new large-scale installation Suffusion Screen (her thoughts, means, and ends), 2014 that bisects the gallery in a series of accordion-shaped screens. The work investigates how the built environment can affect the body’s relationship to space, frustrating viewpoints and blocking movement. Using a mix of new and found components, the formal elements of the sculpture suggest a fluctuating anxiety. For example in this installation, the orange and red hues of the interior wallpapered sections of plywood recall Alfred Hitchcock's film Marnie, where the director used a red overlay on the screen to signify a triggered memory of a repressed traumatic event. This plays into how architecture and its decorative components can be emotional in themselves as well as catalysts for eliciting buried memories that are either forgotten, painful, pleasant or nostalgic.
Heather Rowe (b. 1970, United States) received her MFA from Columbia University. She has exhibited in numerous museums and galleries including MoMA PS1, New York; Indianapolis Museum of Art, Indiana; University of Michigan Museum of Art, Ann Arbor, MI; The Philbrook Museum of Art, Tulsa, OK; Socrates Sculpture Park, New York; Ballroom Marfa, Texas; White Columns, New York; Artist Space, New York; and in 2008 she was featured in the Whitney Biennial. She lives and works in Brooklyn, New York.