Feb 6, 2013

Corey Antis

Corey Antis’ studio is mostly white. There are white walls, some unfinished drywall, and a pair of windows overlooking a nondescript section of downtown Kansas City. Sawhorse tables that have been made with care quietly support the oddest things, all awash in bright fluorescent and natural light. Small wooden objects that with a few cuts, and one another’s company, are no longer simply laminate plywood. Discrete unfinished paintings that as flat and burnished totems have departed their assigned domain of two-dimensional images, and instead sit creeping toward their wooden, three-dimensional counterparts and the porous boundary of the alchemical.

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