Scott Covert (b. 1954, Edison, New Jersey) is an artist based in New York but found more often on the road. A collaborator with Off-Broadway theater companies in the late ’70s, he was a founding member of Playhouse 57 at the storied Club 57 in the East Village, alongside friends Scott Wittman, Marc Shaiman and Andy Rees. In the mid-1980s, at the urging of friend Cookie Mueller, he began a series of paintings and drawings that continues to this day, based on memento mori rubbings of gravestones, works that function as deeply-layered, text-based history paintings.
For more than three decades, Covert has made deeply personal vanitas-memento-mori paintings and drawings based on direct rubbings of gravestones, carried out in cemeteries that he frequents across the United States and around the world, a process that he likens to devotional printmaking.
Maximilian Schubert (b. 1983, Rockford, Illinois) received his BFA from The School of the Art Institute of Chicago in 2007. He has exhibited in the US and abroad, including Off Paradise, New York; And Now, Dallas; Lisson Gallery, London; the Power Station, Dallas, Texas; Bjorn/Gundorf, Aarhus, Denmark; Van Doren Waxter, New York; Kinman Gallery, London; Eli Ping/Frances Perkins, New York; Stephane Simoens, Knokke, Belgium; Bureau, New York; The Warehouse, Dallas; Chart, New York, and CCA, Andratx, Mallorca. Schubert lives and works in New York.
Maximilian Schubert’s Untitled (fracture) works are duplicitous in their nature and contradictory in their intent. His largest pieces to date, these appear to be monumental paintings composed of large swaths of linen, casually stretched. Upon closer inspection, they reveal themselves to be sculptures: polyurethane resin casts that have been broken, reconstructed, and meticulously painted. The seemingly soft surfaces of the works belie their fractured bodies, conveying a contradictory physicality with equal footing in both painting and sculpture.
Mitchell Charbonneau (b. 1994, Bedford, New Hampshire) received his BFA from The Pratt Institute, Brooklyn New York in 2016. Charbonneau’s work involves making subtle and fastidiously wrought sculptures in resin and polyurethane. His debut solo show Gone in 60 Seconds, opened at Team Gallery, New York in early 2020. He was included in Ascensions, a group exhibition at Off Paradise in the fall of 2020. Charbonneau currently lives and works in Brooklyn, New York.
Mitchell Charbonneau’s new work, Senseless, continues his sculptural exploration of utilitarian products such as chairs, stepladders and shelving; objects that can be expanded and collapsed as a function of their design. Every element of the precariously intertwined chairs in this new series has been meticulously sculpted in hard resins and painted after the factory-made original, creating a distorted matrix of geometries suggesting violence but also resilience.
Concurrent with Off Paradise’s presentation of Mitchell Charbonneau’s work at Independent, the gallery will host its first solo exhibition by Charbonneau, Senseless, from September 7 through November 7.
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