New York

Vladislav Markov, xC, 2017, tar and gasoline on vintage toilet paper, dimensions variable.

Brian Dario, Liza Lacroix, and Vladislav Markov


The palette of this three-person show was dominated by brown hues: in the crude-oil-like sheen of paintings by Liza Lacroix, the grimy residues of sweaty hands and raw materials in sculptures by Brian Dario, and the delicate gradations of burnt umber to dark tan in an installation by Vladislav Markov. Materially, each work was in some way stained. The protective panels of suede in Dario’s Foam, 2018—a foot-and-a-half-high stack of eighteen single, used work gloves—looked rough, teased into a texture resembling sandpaper. Markov’s long sheets of old toilet paper, xC, 2017, which had been soaked in tar and gasoline, hung like a row of worn coats along one wall of the gallery. Though durable enough to withstand the artist’s process, the tissue was torn and puckered. Within this context, Lacroix’s works—Untitled, 2017, and Untitled, 2018—also seemed to be less “paintings”

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