GRIMM New York, NY September 10 – October 18, 2021
66-44
2021 T-shirts, polyester, latex and acrylic paint, image transfers, stitching, steel, bronze brazing
18.25 x 32.75 x 5.75 inches
83-172021 T-shirt, inkjet prints on fabric, found fabric, stitching, steel, bronze brazing
27.75 x 23.5 x 5.75 inches
55-172021 T-shirt, inkjet prints on fabric, found fabric, stitching, steel, bronze brazing 27.75 x 23.5 x 5.75 inches
59-222021 T-shirts, inkjet print on fabric, found fabric, found objects, stitching, steel, bronze brazing
26 x 21.5 x 5.5 inches
99-192021 T-shirts, found fabric, stitching, laserjet print, magnets, steel, bronze brazing
36.125 x 37.625 x 6.125 inches
In Confidence2021 Inkjet print on fabric, stretched over hand-shaped board 15.25 x 12 x .75 inches
One of five mattress works in the show. The mattress aligns with the front edges of the substrate, which are rounded. The sides reveal the space/things around the mattress captured in the photo, i.e. the bottle and mask.
Consolatio
2021 Inkjet print on fabric, stretched over hand-shaped board 15.25 x 12 x .75 inches
Midnight2021 Inkjet print on fabric, stretched over hand-shaped board 15.25 x 12 x .75 inches
Something for Easter
2021 Inkjet print on fabric, stretched over hand-shaped board 15.25 x 12 x .75 inches
Love Comes Quality
2021 Inkjet print on fabric, stretched over hand-shaped board 15.25 x 12 x .75 inches
Over the past year Carideo has focused on commercial awnings and their pictorial surfaces as sculptures. He uses the structure of the awnings as a frame for personal mementos including found objects, pieces of faded clothing, and cellphone images that offer fragmentary glimpses of contemporary urban existence. Carideo sews together striking collages from these materials and stretches the fabric over handmade steel structures. Each of the works establish a connection between New York City’s characteristic storefronts and the body.
For Carideo, the cellphone camera is an extension of the body and the mind. He keeps archives of his old cellphone images and looks through them frequently, reviewing the pictures for small details and impressions that catch his attention. From these files he creates visual compendiums that record the city in flux. Cherished moments and places, snapshots of the urban milieu, communicate the immediacy of the metropolis along with the nostalgia of faded portraits.
Carideo describes the evolution of this series and its concrete everyday subject matter:
“[Awnings] are large bulky things. Sometimes flashy, classy, or hideous and they are everywhere in New York City. Awnings can say a lot about a place. Often, they show signs of a vanishing city…Each work in this series is compositionally grounded by an arch and a T-shirt’s collar that rides its curve. A tunnel in one work mirrors a pocket in another, or the simple yet satisfying link between an awning’s curve and the way a person’s shoulders transition to their back. These materials visually intertwine, making it difficult to discern photographic images from imagery found in the the form of sun bleaching or preexisting graphic prints.”
The awnings will be exhibited alongside a parallel series of photo-sculptures, creating a dialogue between two modes of collecting, arranging, and presenting traces of the city. In this parallel series, Carideo photographs discarded mattresses, prints the images on fabric, and fits them over hand-shaped boards. He selects his source imagery for the way that light interacts with the undulating surface and material quality of his subject matter. They dislocate this familiar sight – at once dormant, immobile, and repellant – from the context of the New York City’s streets to become objects on a scale that can be held.