Emily Counts

On a scale of more

Emily Counts at Carl & Sloan Contemporary

The positioning of Emily Counts’ sculpture, “Moves Moves,” in the front gallery of Carl & Sloan Contemporary suitably makes it the focal point for her current exhibit. A good four feet out from a corner, it necessitates that two walls remain blank. At 82 inches tall and comprised of an array of stacked components made of stoneware, porcelain, platinum luster, concrete, wood, epoxy clay, copper wire and bronze, it initially brings to mind the cairn-like stone balancing acts that one sees on rocky beaches. Similarly, it stands as a monument, if not to excess, then an unapologetic variety of treatments.

Emily Counts, Moves Moves/Carl & Sloan Contemporary

Emily Counts, Moves Moves/Carl & Sloan Contemporary

Still, the title seems to suggest a self-conscious awareness that asks if the accumulation of materials and designs might be a little too much (include in this the verb/noun double-duty of “moves”). Both a question of excess (More More) and a concern for balance, if asked, I would assure the artist that her use of black, white and grays lends a cohesiveness to the work. Yet, there is more to consider.

A little more than halfway up “Moves Moves,” one of its ceramic components is made to appear as if it has been forcibly pierced through and through. A cord of ceramic tubes (large beads) strings through the holes and hangs like dead, uneven appendages, which makes the tower become a nearly seven-foot tall figure; and as a figure, the many treatments and designs on the ceramics become adornments as they echo ritual scarification, tattoos and head gear.

Cords of ceramics are evident in the three larger pieces in the gallery’s main room, while two smaller pieces contain a similar gesture with chains made of bronze. This stringing was also in evidence in her exhibit last year at Nationale. It would not be a surprise to discover she also makes jewelry, specifically necklaces. I mention this not to close down the reading of Counts’ endeavors but to open it up. After all, it is the interplay between the jewelry-like structures—along with their role in creating the human form—that leads us to consider the implications of a decorated body.

Continues…