Baker Bridge Road | LYNNE HARLOW

Baker Bridge Road 1-side view, 2015, acrylic in Plexiglas, 4 x 4 x 1 inches

Baker Bridge Road 2-side view, 2015, acrylic on Plexiglas, 8.75 x 8.75 x 1/2 inches

Baker Bridge Road 3, 2015, acrylic on Plexiglas, 5.5 x 5.5 x 1/2 inches each (2 panels)

Baker Bridge Road 4-side view, 2015, acrylic on Plexiglas, 10 x 16 x 1/4 inches

Baker Bridge Road 5, 2015, acrylic on Plexiglas with beveled edge, 14,x,14,x,1/4 inches

Baker Bridge Road 5-side view, 2015, acrylic on Plexiglas with beveled edge , 14 x 14 x 1/4 inches

Baker Bridge Road 6, 2015, pigment on acrylic, LED lights, wood base, 23 x 20 x 3 inches

Baker Bridge Road 7, 2015, acrylic paint on paper, framed, 26 x 26 inches, 30 x 30 inches framed

Baker Bridge Road 7, 2015, acrylic on paper, 26 x 26 inches unframed

Baker Bridge Road 8-side view, 2015, silk chiffon, Plexiglas, 40 x 40 x 2 inches

Baker Bridge Road 9, 2015, acrylic paint on wall, 70 x 70 inches

Baker Bridge Road 10, projected tinted light on wall, dimensions variable (90 inches – 230 cm or larger)

Ask the Sky: Baker Bridge Road
MINUS SPACE, Brooklyn, NY
February 27 – April 9, 2016

Ask the Sky: Baker Bridge Road, my third solo exhibition with MINUS SPACE, Brooklyn, NY, consisted of ten new works that respond to a specific pale pink color used by Bauhaus architect Walter Gropius (1883-1969) on an exterior wall of the house he designed and built for his family at 68 Baker Bridge Road in Lincoln, Massachusetts in 1938. Wishing to reduce the glare from the sun on the second floor deck of the house, Gropius recruited his friend and colleague, artist Lyonel Feininger to create a color that Gropius characterized as reflected light at dusk. Although only slightly discernable from the rest of the house’s primarily all-white exterior, the wall was painted Feininger’s delicate pink color in 1949. This singular color, as well as its complex  relationship with its  surrounds, is the  point of departure for the Baker Bridge Road installation.

Arranged according to a precise visual and material progression, the exhibition presented works that evolve from compact and dense in nature to light and ethereal in appearance. For these works, I employed a broad array of divergent materials, including Plexiglas, LED-lit acrylic, paper, fabric, paint, and projected light. The largest work included in the exhibition, which consists simply of pink light projected on a white wall, most closely approaches Gropius’ original color association: reflected light at dusk.