Lisa Sigal’s installations lean left. They also lean right, forward, and backward, and extend out from freestanding painted sheets of wood, Masonite, drywall, insulation board, cardboard, vellum, and paper onto gallery walls, at times jutting into and out of those walls as though in homage to Gordon Matta-Clark’s cutouts. Unlike any number of recent artists who deploy color primarily in order to highlight three-dimensional form, Sigal seems equally invested in painting and sculpture. Her works combine the delicacy and skill of Monique Prieto’s canvases with the elemental architectural impulse of Marjetica Potrč’s sculptural objects.
The Limits Returning (all works 2004), one of the smaller installations of the six that comprised her recent exhibition at Frederieke Taylor, reveals the movement between phenomenality and institutionality that informs Sigal’s broader project. A two-by-three-foot
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