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View of “Chuck Nanney,” 2014. From left: mobile pink flipper cloud lingum, 2014; mobile purple flipper cloud lingum, 2014.

Chuck Nanney

Jenny's

View of “Chuck Nanney,” 2014. From left: mobile pink flipper cloud lingum, 2014; mobile purple flipper cloud lingum, 2014.

The sculptures that constituted “BODY PARTS & ORACLES,” Chuck Nanney’s first solo exhibition in more than a decade, abide by a lurid color scheme of lime green, neon pink, scarlet, and cerulean, which cumulatively generated an electric lyricism. Most of the objects here on view, mounted to the gallery walls or resting on its floor, were constructed of unassuming materials—household hinges, wooden dowels, Plexiglas sheets, plywood bits—whose acrylic painted surfaces occasionally gleamed with gold, copper, or aluminum leaf. Several were marked with sigils, those mystical emblems constructed via a meditative distillation of a crafter’s written assertion into a merged abstract form and thought to manifest their maker’s stated desire. In the exhibition’s final weeks, Nanney added a freshly mixed ten-and-a-half-hour audio work, untitled, 2003–14, in which droning hypnotic

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