Derek Eller Gallery is pleased to present Phantom Limb, an exhibition of new work by Adam Marnie. The exhibition will consist of a major architectural intervention in which he removes 24 inches of the lower part of the gallery wall, three wooden cube sculptures, one site-specific wall-work, and eleven framed photographs depicting a vase of flowers rendered in saturated, tenebrous hues. Whereas Marnie previously intermixed mediums, he now separates the elements of his practice, bracing them against each other to form unanticipated antagonisms and harmonies.

The architectural intervention returns the gallery to a state in its recent history that lies between catastrophe and reconstruction, thus creating an environment of trauma and contemplation. In this environment, the sculptures and photographs vie for control. In their rigid geometry, seriality, and spacial theatricality, they draw on the language of Minimalism. The wall-work, a red color inkjet print mounted on drywall panel in an elaborate lattice frame, is aggressively turned toward the wall in a rejection of visibility. The three floor sculptures echo the reversed red wall-work with the same lattice construction, but rather than being structurally integrated into the gallery's architecture, they occupy a space voided by the wall removal.

In contrast, the photographs inhabit a lush and maximal terrain. Leaning heavily on the history of vanitas, they depict a vase of flowers in an ambiguous room over the course of five days. Intuitive and expressionistic, the photographs are meditations on light, color, beauty, and decay. Despite the clash between these three sets—the architectural intervention, sculptures, and photographs—and the resultant specter of disorder, what predominates throughout is Marnie's characteristic performance of restraint.