What is the meaning of the word “matrix”? In our postmodern age, where the idea of living inside a computer simulation has risen to the height of a philosophical credo, the word “matrix” conjures up, thanks to the famous movie which popularized the term, a virtual universe devoid of physical substance and the enslavement of the mind. Even before the movie made waves in the popular consciousness, philosopher and cultural critic Jean Baudrillard theorized that capitalist society constitutes a simulation, because originals are rampantly replaced by replicas and fakes, which have become ubiquitous. Take the Mona Lisa for example: very few have seen the original painting, yet everyone has seen copies and images of it, so that we are infinitely more familiar with the simulated Mona Lisa. Accordingly, postmodernism has raised the virtual and fake to the level above originality, and by promulgating endless replicas enslaved us to befuddling excesses. This has lead, in the minds of critics, to a bewildering nihilism which has ended artistic progress. Yet, anyone who claims that there is “nothing new under the sun,” I would like to invite to the art show “Matrixes Small Works,” which can be read as a welcoming proof that physical reality and originality still have the currency and power to enthrall us through aesthetic thrill.

To experience the show's wide-ranging selection of artwork is like hearing an orchestra where all the parts combine to create a soundscape out of disparate instruments. No less than thirty-four women artists are represented in an intimate space on New York's East Upper Side off Madison Avenue, whose atmosphere is astonishingly cozy for its location. The viewer is confronted with the sheer physicality of an array of compositions, which are as diverse as the many members of wind, brass, string and percussion sections. An organic whole emerges with captivating originality, imbuing the collection with a dynamic and open-ended quality.

The idea for the art show came from observations made by Elizabeth Riley and Christina Massey, two artists/curators well-versed in the New York art world, who have recognized that the city's high-octane environment is prone to division and artificiality. Like many of us, they're no strangers to the feeling that contemporary society is a gigantic simulation. Sensing that this malaise is a condition to be rebelled against, they proposed an all-women collective which seeks to bring together a group of women artists who, as diverse as their approaches may be, are characterized by overlapping career trajectories: they all have a connection to the New York art world and have reacted to its hectic and divisive side. Under the name Trill Matrix, the collective has had exhibits throughout New York City. (Tellingly, the word “Trill” in the collective's name is a neologism consisting of “true” and ”real,” which functions like a mantra against the artificiality and falseness of a virtual world.) Now, for the brand new show Matrixes Small Works, the collective's original roster has been choicely expanded.

While the powerful array of the collective's works cannot be, and should not be, exhaustively described, there is an overarching freshness across all compositions on display. Organic forms dominate the space with stark purity, creating an aura of openness and mystery. Among the various shapes inspired by nature, floral forms stand out the most, ranging from abstract (Patricia Fabricant) to photo-realist (Sung Won Yun) to subtly sculptural (Christina Massey) to mini-installations (Kathleen Vance). This dominance is fundamental: In many cultures, flowers are associated with purity and beauty, and by extension, truth. Take Kate Oh Trabulsi's lotus flowers for example: In Buddhism, lotus is a symbol of clarity and enlightenment. And here, the down-to-earth tradition of the Korean Min-hwa painting is skillfully reinterpreted via a pop-art style, evoking spiritual understanding rooted not in artificiality but the enlightenment of simplicity. This painting perfectly encapsulates the goal and thesis of the show, which is to awake the viewer from the jaded comfort of postmodern society's matrix.

About the Critic

B. Su Alexander is an art historian and curator. He has contributed essays and/or curatorial advice for Jenny Holzer, Frieze New York, The Armory Show, and Skira Editore. He holds a doctorate in electrical engineering and is a published poet.