NEVER THE SAME RIVER / SOLO EXHIBITION OF WORK BY TANEY RONIGER
On view August 8 – Sept 26, 2020
By appointment only
Taney Roniger is a visual artist, writer, and educator based in New York. Her work has been shown in a number of venues both here and abroad, including: Robert Henry Contemporary, Lesley Heller Workspace, Sperone Westwater, The Islip Art Museum, and StandPipe Gallery in New York; the Contemporary Arts Center and The Front in New Orleans; and the Pera Museum in Istanbul, Turkey. Taney’s awards and honors in the visual arts include three Yaddo fellowships, a grant from the Pollock-Krasner Foundation, and a traveling fellowship from the Stacey Sussman Cavrell Memorial Foundation. Since 2012 she has been a contributing writer at The Brooklyn Rail, for which she served as Guest Editor in December 2017. Her writing has also appeared in Hyperallergic, Whitehot Magazine, Big Red & Shiny, Transverse, and On-Verge. In 2016 she was a finalist for the Creative Capital Arts Writers Grant in short-form non-fiction. Taney holds an MFA from Yale University and a BFA from the School of Visual Arts, where she teaches in the Fine Arts Department and Honors Program.
Artist Statement: Never the Same River
Taney Roniger, August 2020
The series on view began when, about a year ago, I started looking closely at a set of small gesture drawings I had made the year before. Scanning them into the computer and zooming in on small sections, I was astonished to discover how complex they were; although made without forethought and executed in just seconds, each contained a microcosm of unique marks, textures, and tones. Inspired by these microworlds, I set out to recreate the tiny drawings as large-scale charcoal works on paper. In re-drawing the gestures magnitudes larger than their original size, I often feel as if the forms were made by someone other than me, so little does my thinking self understand how I made them. Through the slow and meticulous process of their re-creation I achieve a unique kind of intimacy with the deeper intelligence of my body. My hope is that the viewer might recognize this intelligence as something we share as our biological inheritance.
Borrowing from Heraclitus’s dictum that we never step in the same river twice, the show’s title alludes to the ultimate futility of re-creation. For as diligent as I try to be in my fidelity to the original drawings, I end up invariably with a complete transformation. With my body in conversation with new internal and external conditions, how, of course, could it be otherwise.