Trish Tillman

Stage Diver

April 6 - May 13, 2017

Afterschool Locker, 2017

Hand-printed vinyl, wood, metal, horsehair, resin, tacks

66” x 37” x 6” | 168 x 94 x 15 cm

Housekeeping, 2017

Vinyl, suede, wood, metal, zipper

44” x 15” x 4.5” | 112 x 40 x 11 cm

Good Morning Farewell

Good Morning Farewell, 2017

Leather, vinyl, wood, resin

31” x 36” x 5” | 79 × 91.5 × 13 cm

Midnight Caper

Midnight Caper, 2017

Leather, horsehair, vinyl, tweed, metal

51” x 33” x 33” | 129.5 x 84 x 48 cm

Basement Theater, 2017

Vinyl, suede, wood, metal, rope

71” x 30” x 1.5” | 180 x 76 x 4 cm


Booster, 2017

Leather, vinyl, wood, chain, metal studs

42” x 24” x 4”

First Class Quick Fix

First Class Quick Fix, 2017

Vinyl, cotton, metal, plastic

25” x 26” x 21” | 63 x 66 x 53 cm

Holiday Street Fair, 2017

Leather, vinyl, wood, beads, metal

58” x 33” x 2” | 147 × 84 × 5.1 cm

Way In, 2016

Leather, vinyl, wood, metal, clasp, tacks

42” x 34” x 1.5” | 107 x 86 x 4 cm

Stage Diver

Stage Diver, 2017

Vinyl, rope, wood, metal

54” x 10” x 6” | 137 x 25 x 15 cm

Mini Muff, 2017

Leather, vinyl, wood, metal

29” x 28” x 2” | 73.5 x 71 x 5 cm

Skater Betty

Skater Betty, 2017

Vinyl, fabric, suede, wood, polymer, horse hair 

29" x 15" x 5" | 74 × 38 × 13 cm

Press Release

Asya Geisberg Gallery is proud to present “Stage Diver”, the gallery’s second solo exhibition of sculpture by Trish Tillman. In a combination of hand-wrought and manufactured metal and hand-sewn and upholstered geometric shapes, Tillman distills references to gaudy places of entertainment, faux-luxury, plumbing, furniture, and flashy fashion. Her sculptures carry an omnipresent echo of the body – as zippers, pipes, animal hair and leathers are metonyms for flesh, appendages, orifices, and skin. Unapologetically sexy, her uncanny minimal works evoke the frisson of fetish. Often modular, the wall sculptures amplify references as momentum builds across gestures big and small. Throughout the exhibition, nothing is given away or explicit. Warm “feminine” textiles, cheap girlish accessories, and cool, sleek metals juxtapose, as the artist connects disparate elements such as car exhaust pipes with upholstered shapes that suggest clutch purses, bar stools, or body fragments. Each sculpture is adorned, if only in a small but key measure, by clasps, chains, studs, or colorful piping. Some elements straddle competing realms – a piece of metal could be a drawer pull, plumbing, or a purse handle. The metal often aggressively attaches to the plush covered parts, adding yet another underhanded metaphor.

Tillman’s elegant, concise and pristine sculptures paradoxically manage to hint at the cheap and lurid, smoky club interiors or the flashy sexuality of the strip bar. The fantasy of luxury and the reality of the day to day, facades and simulated surfaces, the performative space of restaurants, amusement sparks and holiday hotels all situate the varied works in the exhibition. Odd additions of stark color via a hint of Hawaiian print fabric, a fake fruit, or a tourist shop sunset’s glaring palette, can upset the contained shapes and confident grand gestures. The artists’ sly echo of Minimalist sculptures mixes with Pop material and a postmodern interplay of binaries create a Freudian interplay of references and narratives. Tillman’s enigmatic works ask us to reassess familiar materials and work hard to create a precision and balance, only to upend our typical associations with comfort, tastefulness, luxury, or fantasy.