New York


Pace Gallery

Whether in the mammoth 10-by-10 feet “The Gates to Times Square,” or in the small scale 13-by-11 inches “Ampersand” series, Chryssa’s neon vocabulary clings to what she seems to feel are its rightful origins in the script of commercial signs. Thus the organization of the “Gates” rests on the capital letter ‘A’ which is split vertically down the center and in both neon and stainless steel performs the service of a kind of archway through which the viewer walks into a jungle of stacked compartments filled with quasi-lettering. The “Ampersand” series is based on the ‘&’ sign—the neon in some pictures creating the sign itself, in others leaving the letter as the negative center of the surrounding colored bands of light.

In all of Chryssa’s production she shows herself to be formally derivative to an amazing degree. “The Gates” rests on a Nevelson idea which in turn depended on Cubist sculpture,

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