"Skeleton Key" marks Ginny Casey's second solo exhibition with half gallery since her September 2016 debut. The title makes reference to the master key of fantasy and lore, but also the strange biomorphic shapes the artist often employs in her "bulbous, raunchy" paintings as Artforum described the work on the eve of her two-person show at ICA Philadelphia alongside Jessi Reaves. Perhaps both women could be regarded as making furniture sculpture, only one of them exclusively in two-dimensional form.
Viewers will note Ginny Casey's interplay between the organic and man-made; however this binary can prove overly reductive. A question of consciousness arises with her new paintings specifically when examining her latest armchair and copulating keys. Whose volition do they operate on if indeed they are animated at all? Does the ribcage - in Beetlejuice fashion - admire itself in front of a full-length mirror? And why are the mirror's feet suddenly hands? Ginny Casey makes such jumps in logic a natural perversion. An Art in America review from her first half gallery exhibition noted the apparent influence of Phillip Guston, Giorgio Morandi and Milton Avery.
Ginny Casey has exhibited at Nino Mier Gallery in Los Angeles and at 106 Green in Brooklyn. She received her MFA from R.I.S.D. where she was a T.A. under Dike Blair.
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