Jillian Conrad’s Exploration of Drawing at the Menil Drawing Institute
HOUSTON — Jillian Conrad’s art has always captivated me with its ability to blur the lines between what we see and how we interpret it. Known for her sculptures, Conrad’s latest exhibition at the Menil Drawing Institute, titled “What drawing can be: four responses,” showcases her deep connection to drawing as an art form.
In this exhibition, Conrad presents five new works that challenge traditional notions of drawing, alongside pieces by Teresita Fernández, Tony Lewis, and Constantin Luser. One standout piece, “Cetus,” hovers in the gallery space, with colored glass orbs suspended on delicate metal chains that are anchored to a chunk of asphalt on the ground. This sculpture, inspired by the celestial constellation of the same name, serves as a focal point for the other works in the installation.
Another compelling piece, “Letter,” features a net suspended from the ceiling, adorned with hand-formed pewter letters that spell out a message in both English and French. This work is inspired by a series of lost letters from the Seven Years’ War, highlighting Conrad’s fascination with the connections between past and present, presence and absence.
Conrad’s surrealist tendencies come to the fore in “Fork,” a piece that juxtaposes a rose branch with a piece of brass. As viewers move around the sculpture, the spatial separation between the two elements becomes apparent, inviting them to explore the boundaries between reality and imagination.
Throughout the exhibition, Conrad’s work invites viewers to contemplate the power of drawing as a form of expression and communication. Each piece tells a story, whether it’s through references to mythology, historical events, or personal narratives.
“What drawing can be: four responses” is a thought-provoking exhibition that challenges traditional notions of drawing and invites viewers to consider the limitless possibilities of the art form. Don’t miss the chance to experience Jillian Conrad’s captivating work at the Menil Drawing Institute before the exhibition closes on August 10.
Editor’s Note: Hyperallergic‘s standard image policy is to run photographs taken by our reviewers to authentically represent their experience. An exception was made in this review due to the venue’s restrictions on photography.
