With the five works in “B.O.D.I.E.S.,” Emilie Ding remains faithful to the large formats, rigorous selection and isolation of elementary geometric forms, and spare surfaces for which she has become known. And yet here she ventured in a new direction, abandoning other familiar characteristics: the depth and resistance of materials like concrete; the precision and almost gestalt-like quality of her drawings; gradations of black and gray in patterns, repeated in series, faint to the point of evanescence; industrial architecture as a model. Instead, she’s been exploring, for the first time, felt made from carded wool. Violating the character of this ordinarily nonflammable material, the artist has burned the surface, obtaining a charcoal-black coloration. Putting into action the title of one of her earlier drawings on paper, Burning, 2011, she has obtained an effect close to that of
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