Tanya Bonakdar Gallery is very pleased to announce the opening on January 20 of the gallery’s eighth solo exhibition with Peggy Preheim, ‘Three Sheets to the Wind.’ In addition to a selection of new drawings and photographic works, the exhibition will feature the largest and most compelling presentation of Preheim’s sculpture to date. Preheim’s exquisitely surreal figurative compositions of unfired white clay and found objects are presented on freestanding pedestals or shelves, often within glass vitrines, or large glass bell domes. Constructing enigmatic narratives and referencing ancient myths, Preheim’s practice touches upon the most intimate yet universal images and themes, resonating with complex psychologically depth and meaning.
Aside from referencing the state of intoxication, the title suggests a narrative of movement, or a journey. As one looks at the development of Peggy Preheim’s practice since the early 1990’s, it becomes clear that the reference is to a personal odyssey that has resulted in a return to sculpture as the focal mode of expression. Literally, the work featured in 'Three Sheets to the Wind', all dated from 1994 to 2004 and comprised of elements made or collected over the past decade, juxtaposed and arranged into new compositions. Figures made from white clay wear antique doll dresses, set upon stemware to form delicately strange new ‘combines,’ or ‘ready-mades.’ In 'Bride,' an antique glass urinal is dressed in a pink doll's dress, with a handle protruding through an opening in the back. Duchamp, Hans Bellmer and Joseph Cornell resonate here, although Preheim's work is less about such art historical references, as it is a personal exploration of sculpture and storytelling.