Central Park is pleased to present Chimeras, new work in assemblage painting, sculpture and drawing by Cheryl Bentley and Ye Qin Zhu. For Bentley’s second exhibition and Zhu’s introduction with the gallery, the artists present work that emphasizes the capability of art-making to generate viable, public spaces for personal growth and exploration.
Zhu’s wall works read like a map of his body’s passage through space. One can imagine the artist’s chaotic constructions made as though he were an adhesive, tumbling through an inexhaustible landscape of detritus. Seeming to use everything at hand, Zhu refuses to close the door on any possible direction the work may take. By welcoming missteps or errors in his paintings, he is able to disengage with any right/wrong paradigm that might disrupt the work. As an arts educator, for Zhu this process of fostering growth while suspending the impulse to edit, is a technique for genuine learning. It is a practice of opening up, an attempt to occupy a position alien to himself, rather than a selective learning that closes him off. His repeated layering and imbedding of imagery is a means for increasing accessibility, blurring the line between what the viewer thinks they may or may not know about the work. Zhu believes in the curative power of fantasy, that following its unpredictable path presents transformative opportunities and that through it we can face the things in the world that we cannot bear. For Zhu these may be existential dilemmas about the vastness of the unknown. For Cheryl Bentley on the other hand, it’s important the burdens of living can be named.
In earlier work, Bentley’s sculptures and drawings grew out of engagements with isolated sites of inquiry: the bed, as an incubator for feelings of vulnerability; the orifice, as embodied liminality. The artist’s new series of sculptures confront what she sees as the societal pressure of constant composure. Like Zhu’s push for impulsivity and action, Bentley seeks to break with the mores that keep sadness and mourning relegated to the private. Her pieces on view are offerings for the sad and the suffering. They center around endlessly-crying water fountains, sculptures for the tears that have been lost in the world and tears as yet unshed. Bentley uses the public structure of the fountain as means to imagine a communal reckoning with the universality of despair and its public performance.