A conversation with artist Kieran Dodds and academic Christian Gonzalez Ho on their new exhibit, ancient pilgrimage sites, and the church of the future.
“I should make sure it doesn’t come across as another of the Chelsea show of paintings or ‘about painting,’” [sic] reads a note from the journal of Enrique Martínez Celaya. Pages from this journal, painted in reproduction on the wall of Miles McEnery Gallery on West 21st St., flank the threshold of the exhibition. “The goal of this passage is to deny the show but without over-explanation,” we read. “The writing should help to clarify it is not a ‘show.’” The artist’s musings in this liminal space prime the viewer to experience the six large and identically sized oil and wax paintings that hang just beyond it.
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