Rey calls them “ibjects” – hybrids, that is, between images and objects. Their oil-painted surfaces give the sense that they are “of” extant things in the world, the way images are, but their semi-industrial shapes suggest that they themselves have been pulled out of our normal object-world. You could call them “imaginary ready-mades” – The idea that they are imaginary and contingent is reinforced by their extreme fragility: their oil paint is applied on top of a soft and fleshy layer of plasticine.
Ross Iannatti’s recent body of work Hysterisis uses discarded materials collected from automobile impound lots, specifically the industrial nylon found in the interior of car steering wheels and passenger seats that is often covered in oil, dirt and other imprints from the material’s previous life. Iannatti dissects sections of the nylon, cutting squares and rectangles to create geometric patterns that he then sews together. Informed by the grid, a concept in art making that has evolved over the past century through the work of artists like Kasmir Malevich, Agnes Martin and Sean Scully, the squared patterns of softly colored blues, yellows, pinks and grays are formally compelling.