New York–based artist Rey Akdogan recently described her practice as motivated by a fundamental interest in “motion, our everyday lives, and how we move through space.” Although these concerns were not immediately evident in her latest solo show at Hannah Hoffman, the more time one spent immersed in the exhibition, the more conscious one became of the dynamic relationships between one’s own moving body, the installed objects, and the surrounding architecture of the rooms. The experience was an intensely phenomenological one, as mundane objects that would have normally remained hidden in plain sight became palpably present.
Akdogan’s sculptures make subtle references to practical uses and public spaces far beyond gallery walls, often implementing standard support devices that one might purchase from trade catalogues or hardware stores. In the main room, for example, were four striking
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