Dog Eared Reverie

foreign & domestic
New York, NY
May 13 – June 18, 2023






PLM

2023
T-shirt, pillowcase, found fabric, found shoe heel, steel, silver brazing, stitching
21 x 12.5 x 8.5 inches

I made these curtains from an old yellowed pillowcase to veil a heel. The small flowers in the fabric that define the cloisters are colored in by hand. If you look closely inside the top edge of the piece you’ll see the collar of the threadbare sky blue t-shirt that makes up the curve.






BWA

2023
T-shirt, found shoe heel, steel, silver brazing, stitching
16.75 x 18.5 x 5.25 inches

This piece is also made from a single sun faded black t-shirt, rearranged to create a halo of light around the arch. For whatever reason when I made it I was thinking about what an artwork would see, if it could. The shirt is riddled with tiny holes, which to my surprise, act as tiny aperatures or camera obscuras, making faint projections of the room inside its shadowy interior, giving you an idea of what it would see..






SRE

2023
T-shirt, found fabric, found shoe heel, inkjet fabric prints, steel, silver brazing, stitching
18 x 9.5 x 6.625 inches

This piece has movable doors, to reveal or hide the heel, which required me to design and make steel hinges. These sculptures are as much about interior space as they are about exteriors, and their surfaces. They are facades but also chambers to inhabit.






ZFM

2023
T-shirt, found fabric, trim, found shoe heel, steel, silver brazing, stitching
18 x 16.375 x 5.125 inches

Every piece in this show feels like an individual with a unique personality to me. It’s interesting to make an object that embodies a human sensibility or potentially a gender.. Considering each work for this show meant I was curating a social dynamic, like putting together a dinner party. The works are frontal like we are, and in the show they face eachother as we do in a room.










DCO

2023
Polyester, graphite, acrylic paint, laser prints, found shoe heel, steel, silver brazing, stitching
15 x 19.5 x 4.75 inches

I wanted to make a piece that had a metal surface, common to medieval reliquaries. The surface is a patchwork of polyester scraps from previous works, painted various colors, and then drawn on with heavy graphite. Behind the caged archway is the most weathered and decrepit heel I’ve found, cracking and shriveled like a mummified relic.






TSD

2023
T-shirt, found shoe heel, steel, silver brazing, stitching
17 x 10 x 5.25 inches






JLD

2023
T-shirts, found shoe heel, inkjet fabric prints, stitching, steel, silver brazing
20.5 x 10 x 6 inches

Sorting through pictures to use in/as artworks is similar to finding heels. Sometimes the best images are the easiest. After setting the heel, I found these two pictures deep in my hard drive, taken years ago, in a neighborhood in new york where all the galleries have now moved to.






GFK

2023
T-shirt, found shoe heel, inkjet fabric prints, steel, silver brazing, stitching
20 x 17 x 6.5 inches

The surface of this piece is made entirely from a single sunbleached green t-shirt, with the addition of two cellphone pics printed on fabric. The process of rearranging this one shirt based on the yellowed discolored regions felt like skin grafting, or clone stamping in photoshop, finding what I needed in the small amount of material available to me. An archway frames up a small heal housed inside the architecture, like a medieval reliquary.






Each steel armature is handmade by the artist using a metal joining technique known as silver brazing, and outfitted with meticulously sewn fabric compositions. Around the size of a human rib cage, the intimate scale and proportion of each artwork is modeled around the unique shoe sole fragment it shelters within. The tailored fabric collages which envelop each sculpture consist mostly of tattered T-shirts, bleached by exposure to sunlight and perforated with tiny apertures chafed through by repeated contact with the body. Photographs of architectural details - windows, murals, gates, alleyways and alcoves - are stitched into the surfaces of each piece. Carideo's new work fuses the language of sculpture, photography, architecture and the readymade into a unique hybrid which evokes the medieval art of reliquaries, intricate containers custom-made for housing body parts and other saintly ephemera.

Collecting - as act and art - is central to Carideo's work. He cultivates an extensive archive of cellphone photography, visual notes of architectural miscellany, discarded mattresses, commercial awnings, trash-assculpture and fleeting sunlight. This is photography as means of transport- a peripatetic practice that tracks some of the artist's most timeworn routes in New York- chronicling familiar spots as they fray or endure over consecutive years. Other series of cellphone snapshots chronicle, for example, the fences made from recycled mattress springs in Mexico, or Florence's buchette def vino - 'little mouths' - windows used to sell wine from wealthy villas' cellars during times of plague. A book indexing the artist's photographic references, published by the gallery, will be released in conjunction with the exhibition.

In American cartoons the solid black arch of a tunnel in the side of a mountain is a graphic shorthand for the passage into another world, the vanishing point at the end of a long pursuit. A shoe heel displayed upright and ensconced in a recessed niche becomes both sculptural and pictorial. It calls up the false doors of Egyptian tombs or the forced perspective of Borromini' s corridor, architectural illusions that extend literal volume into a space beyond. It was on returning from a cross-country trip hopping freight trains - the mythical black arch in a mountainside remained elusive - that the first shoe heel materialized for Carideo on a New York city sidewalk, and he began to find them everywhere:

"Formally, I see the shoe heels as doorways, portals, archways. Conceptually, I think of those doorways as entry points to considering an individual and their iourney. They feel like a photograph in some way, a print on the sidewalk, a step left behind as the rest of the foot walks away, only to be noticed later on. I've been collecting them for years without exactly knowing their endpoint. They provide meaning to the day. They connect this world to that: to funnels, roman archways, spirituality."
Each sole fragment indicates a divided pair, speaks to a matching heel that traveled further, imparting Carideo's collection of unattached heels with a sense of loss, longing and incompleteness. Like fingerprints, irises, mattresses or awnings, each shoe heel has a unique signature, a color, design and personal history of wear and tear, that constitutes its identity. Each sole is also a variation on a standard form, determined by the mechanical necessity of tracing the outline of a human heel and absorbing the compressive force of the average human body. The heels collected by Carideo constitute a typology for this design vernacular, excerpting the endless play of similarity and difference, presence and absence left behind by the circulation of bodies through the city.

Carideo nourishes his art on this intimate connection between form and function in the human body and the built environment. The shrine-like constructions in Dog Eared Reverie extend the thinking of his recent commercial awning sculptures by lending them a function, something to do: shelter the solitary heels and constitute a chamber (camera) for their viewing. Carideo has described awnings as "urban cloisters serving as a space to talk, smoke, stand without purpose", to emphasize the charged social spaces - of shelter, encounter and exchange - enabled under their fabric canopies. His latest work extends the erotic potential of volumes enrobed in fabric by modulating the degree of visibility and accessibility of the shoe heel to the viewer, using curtains, cages, doors, cavities and orifices to entice the viewer to kneel down to look up into the work.

The works in Dog Eared Reverie transmit clearly distinct personalities, yet yearn towards a collective identity, for belonging to a greater body of work. Carideo elevates his archive of idiosyncratic remains into a shared act of seeing, saying and showing: each discarded sole the speaker of one language with many accents.

- foreign & domestic