Evan Penny’s sculptures confront the viewer with something
beyond realism. His profound skill as a
sculptor, his innovative developments with silicone as a medium, and his
uncanny ability to distort reality result in disturbingly arresting works that
seem both impossible and hyper-real.
Penny’s home, in contrast, celebrates traditional craft work
and folk/outsider art. Looking at the collections he displays (tramp art,
memory ware, prison art, and pieces made of bottle caps, tin cans, peach pits, and beaded safety pins), you can clearly see
the hand of the artist at work, as well as the nature of the material. However, the pieces also carry a repetitive
and obsessive quality that is reflected in Penny’s own sculptures. I appreciate
his open-mindedness about what is worthy of display, evidenced by his
showcasing of objects such as 1930s balloon tire bicycles alongside contemporary and folk art.
He renovated the two-story semi himself, salvaging stained-glass
windows to great effect and recreating the original linoleum
kitchen floor (after a plumbing disaster caused water damage). What makes the spaces in his home work so well is a consistent
attention to detail, the beauty he finds in his collected objects, and the
cohesive texture of work done well, whether craft or art.
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