Walter Randel Gallery is pleased to announce sculptor Peter Mallo’s inaugural one-man show in New York City. This exhibition features recent sculptures, both large and intimate in scale, which focus on tales of trespass and their consequences. Accompanying the sculpture are drawings and watercolors investigating movement, freedom and transformation.
For Mr. Mallo, sculpture tells a story that is real, tangible, and a testament of the truth. His works compose a compelling visual odyssey for the spectator, who is reminded of his own “stories” as he is skillfully pulled into the artist’s own narrative.
All aspects of Mallo’s objects convey his message with purpose and meaning while studiously avoiding any unintended ironies. Mallo’s powerful objects transform his ideas into complete sculptural form rather than superficially draping those ideas façade-like over the works’ material. His approach to sculpture has required the artist to develop his own language of materials and master it fluently to suit his own needs. To borrow a quote from the connoisseur Laurence Binyon from the turn of the 20th century, Mallo’s art is “essentially a conquest of matter by the Spirit…it is a subjecting of things to the mind, as opposed to science, which is a subjecting of the mind to things.”
Most artists define “craft” as a fine finish or a pleasing appearance, but Mallo takes the concept much farther, seeing his own definition of the term which, interestingly, encompasses ugliness as a legitimate aesthetic. Mallo questions how artists bend their individual understanding of the language of material into a unique response. The artist “looks for the grain of the axiom within the archetype, and I amplify it into something of immediacy and relevance. The object resonates as something both familiar and fantastic. The result is most interesting through the delicate manipulation of transparent iconography and the opacity of my aesthetic.”
Mallo’s objects inspire touch and in some cases there are scars from usage. He designs his sculpture like prototypes of tools or devices. The seat of the works’ appeal lies within their allusion of interaction. Through the process of making them into sculpture they become estranged from their initial function. The sculptures emerge embellished, peculiar, and on occasion even mythical. There is an agreement between the spectator and the piece: your body becomes collateral for the work. Great responsibility and even greater consequence comes if the spectator chooses to take the initiative.
Peter Mallo was born in Rochester, New York, and holds a BFA from The College for Creative Studies in Detroit and an MFA from the School of Visual Arts in New York City.
Click here for a preview of the exhibtion.
To view other works by Peter Mallo click here to view artist's website.