Dylan Solomon Kraus. Holy Unrest
![Dylan Solomon Kraus. Holy Unrest, Peres Projects, Milano Dylan Solomon Kraus. Holy Unrest, Peres Projects, Milano](http://www.arte.it/foto/600x450/6c/127395-dylan.jpg)
Dylan Solomon Kraus. Holy Unrest, Peres Projects, Milano
From 01 Aprile 2022 to 29 Aprile 2022
Milan
Place: Peres Projects
Address: Piazza Belgioioso 2
Times: Monday to Friday 11am-06pm
E-Mail info: info@peresprojects.com
Official site: http://www.peresprojects.com
Peres Projects is proud to inaugurate our Milan location with Holy Unrest, our first exhibition of work by the New York based painter Dylan Solomon Kraus (b. 1987, USA). The exhibition includes a group of new paintings.
Kraus’ works echo between mystical symbology and built environments, guiding a philosophical reverence and curiosity for the inner world. The paintings unravel and expose a non-linear notion of time and place, gesturing to alternate, overlapping dimensions. In Holy Unrest, travel is a psychic passage that is marked by the images of clocks, clocktowers and reflections.
Scenes take place in the moonlight, looking out a window, illuminated by cycles of celestial bodies, charged with talismanic energy. Mystical spaces (home, community, destination) interpose real cities (flooded, empty, vacant). These cycles are represented in intersecting planes, oscillating between fore and background, positioned as both peering out the window at the bird outside and flying alongside it.
The repeated symbols, geometric forms, and sinking posthuman cities (or are they floating in fog?) cast patterns that are elusive and yet familiar, as if from a dream we wake from, grasping to remember.
Kraus’ works echo between mystical symbology and built environments, guiding a philosophical reverence and curiosity for the inner world. The paintings unravel and expose a non-linear notion of time and place, gesturing to alternate, overlapping dimensions. In Holy Unrest, travel is a psychic passage that is marked by the images of clocks, clocktowers and reflections.
Scenes take place in the moonlight, looking out a window, illuminated by cycles of celestial bodies, charged with talismanic energy. Mystical spaces (home, community, destination) interpose real cities (flooded, empty, vacant). These cycles are represented in intersecting planes, oscillating between fore and background, positioned as both peering out the window at the bird outside and flying alongside it.
The repeated symbols, geometric forms, and sinking posthuman cities (or are they floating in fog?) cast patterns that are elusive and yet familiar, as if from a dream we wake from, grasping to remember.
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