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Hillary Leone Born 1962 Maimi, Florida
Jennifer MacDonald
Drawing from
(click image for larger view) |
“Leone & Macdonald's art,” Nicholas Spice writes in the May 1995 issue of Art + Text, “arises at the point where poetry, polemic and the properties of materials converge.”
For the past ten years, this collaborative team has produced a unique, almost paradoxical body of work: installations, drawings, sculptures and videos, often on a grand scale, that examine the most controversial public issues of our time in intimately personal, yet formally rigorous terms. They have created moving, visceral works about aids (Ashes, Ashes, We All Fall Down, 1989), abuse (Speaking Secrets, 1991), sex and censorship (Private Parts, 1992; The Obscenity Series, 1992; Sex Studies, 1993) and identity (Double Foolscap, 1994; Passing, 1996). Their work has been featured in solo exhibitions at the Whitney Museum of American Art at Philip Morris, New York; the Fawbush Gallery, New York; the Australian Center for Photography, Sydney; Arthouse Multimedia Centre for the Arts, Dublin, Ireland; and at venues in San Francisco; Miami; Winnipeg, Canada; Cork, Ireland; and elsewhere. They have also shown in the 1993 Whitney Biennial and in group exhibitions at museums in Washington, d.c.; Mexico City; Seoul, South Korea; and Arezzo, Italy.
For Stung by Splendor, Leone & Macdonald have created working drawings toward a new installation, The Yellow Wallpaper. As in previous works, this new project is based on the conceptual premise that an artwork resonates when the form carries the burden of its own meaning. In The Yellow Wallpaper, Leone & Macdonald use the notion of “working drawing” as both methodology and content and, in so doing, have conceived a project that, even as it seduces through visual pleasure, remains conceptually rigorous and politically motivated. The result is a luminous, mercurial work in and about process, on rumination and the rest cure, madness and the working drawing.
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