Taymour Grahne Gallery is proud to present Missing Real, a solo exhibition of new works by Brooklyn-based artist Daniele Genadry. Marking the artist’s first solo presentation in New York, the exhibition includes a large-scale floor installation, paintings, works on paper and photo-based collage that investigate the unseen realities which contribute to our sense of familiarity and challenge our perception.

Genadry’s practice draws on her movement between Lebanon, Italy and the United States. She employs photography and painting to examine the parallels between physical distance and passing time, and explores the potential of a picture to generate its own temporality beyond the moment that it initially represents. Considering perception, position, light and landscape, Genadry presents layers of multiple perspectives in each painting or installation, often using monochromatic palettes, neon hues, and shifting frames, while incorporating the visual language of both photography and film. The mountains outside of Beirut, the southern suburbs of Rome, passing countryside glimpsed from buses or trains and other such peripheral sites, are the starting point for many of her works.

Missing Real begins with two photographs of a mountain range in Lebanon (partially pictured above), documenting two different views, one familiar and one forgotten. Through the translation of these snapshots into individual works, the artist considers ways to regain site through sight: to expand perception to include both the images themselves in relation to the original space they allude to.

If I Could Fly (Janneh), a floor installation consisting of 25 painted wood panels, refers to the familiar view, a zoomed in mountain landscape near the artist’s grandmother’s home. The piece reveals itself in various perspectives, by offering multiple positions at which it can be seen. It then further destabilizes its own image by its fragmentation into multiple planes with each individual panel tilting at a different angle. If I Could Fly (Janneh), through its size and installation, confirms the impossibility of experiencing a complete view, of finding an omniscient position. The Fall (Afqa), a large painting on canvas similarly sized to the floor piece, presents a forgotten view, based on an image the artist took of the same mountains, fifteen years earlier. The painting appears dreamlike and fading, its familiarity no longer reliant on its location or record. Both the floor piece and painting play with a sense of proximity: on one hand, distance continues to increase, as each piece moves away from its photographic origin and geographical site. On the other hand, distance is eliminated altogether, by creating absorptive experiences of a landscape that relies entirely on light and scale. It is in this new present, where the real supersedes the question of time and place.

Accompanying the exhibition is a 32-page catalogue that presents a series of photographs collected in search of the two original views, and supplements the large, scroll-like drawing in the gallery.

Daniele Genadry (b.1980) completed her BA at Dartmouth College in Hanover, NH and an MFA at the Slade School of Fine Art in London (2008). She has participated in residencies at the Bronx Museum, Anderson Ranch Art Center (USA), Fondazione Ratti (Italy), Frans Masereel Centrum (Belgium), and in 2013-14 she was the Abbey Scholar at the British School at Rome. Recent exhibitions include Roman Remains, Transition Gallery, London; This is the Time. This is the Record of the Time, SMBA, Amsterdam and AUB Galleries, Beirut; HardCopy, Fondazione Pastificio Cerere, Rome; There is No Place Like Home, Aurelia Antica 425, Rome; After Hours, Kunsthalle Galapagos, NYC; and The 2nd Aim Biennal, The Bronx Museum, NYC.