Textured abstract composition with dense crosshatching and linear marks in black and gray on a light cream ground, creating a layered, grid-like surface that suggests both materiality and image through its intricate, almost architectural patterning.

The Head on the Door

Corey Antis

1/10/2014 – 2/22/2014

Press Release (PDF)

Corey Antis’ studio practice investigates how images, objects and spaces can be proposals for the experience of perception and the uncanny. This exhibition depicts a framework where constructions and their representations maintain and subvert aspects of themselves. A Robert Smith lyric, The Head on the Door reflects how the perception of the everyday environment is measured between the solidity of material and its image.  

Antis’ work has been exhibited in national and international exhibitions at the Rebekah Templeton Gallery, Dolphin Gallery, Greenlease Gallery at Rockhurst University, Booster and Seven Gallery, Vox Populi Gallery, Three Walls, Heaven Gallery, Jenny Jaskey Gallery, the D.C. Arts Center, Greenstone Gallery, Hunter College, the Rhode Island School of Design, the Frieze Projects Art Fair, the Stray Show and SPACE Gallery. His work was recently included in a three-person show at Galerie Zurcher in New York and is currently being exhibited in Crosscurrents In Contemporary Abstraction at Taylor University.

His work has been published and reviewed in publications including Architectural Inventions: Visionary Drawing, New Visual Language and Vox Populi: We’re Working On It, as well as The Huffington Post, The Philadelphia Inquirer, Kansas City Star and Title Magazine, among others. He currently lives and works in Kansas City.

Exhibition Images ()

  • Gallery wall with four small framed works spaced across white walls in a minimalist exhibition space with industrial ceiling. Works feature abstract compositions in green, amber, neutral tones, and dark tones with yellow accents. Polished concrete floor. Spare arrangement emphasizes individual pieces and the architectural void of the gallery.
  • Two small framed works hang on a white gallery wall: a dark, nearly black rectangular piece on the left, and a larger white panel on the right featuring a geometric, architectural form rendered in gray linear marks and crosshatching.
  • Contemporary gallery interior with polished concrete floors featuring a tall metal pedestal on the left supporting a black sculptural form, a central white architectural partition with recessed elements, and a textured abstract artwork mounted on the right wall with blue and white geometric patterns.
Textured abstract composition with dense crosshatching and linear marks in black and gray on a light cream ground, creating a layered, grid-like surface that suggests both materiality and image through its intricate, almost architectural patterning.

More by Corey Antis (View All)