Art Review
When I discovered “Light Years,” Judy Pfaff’s latest exhibition at Cristin Tierney Gallery, I was struck by the unique qualities that set her work apart. Pfaff, who last showcased her solo work in a New York gallery in 2019, has always been known for her eclectic use of materials, ranging from store-bought to found objects. In “Light Years,” viewers are greeted with a mix of plastic flowers and fruit, nests belonging to birds and wasps, recycled plastic carpets, polyurethane foam, steel tubing, and LED and neon lights.
Pfaff’s method of combining materials with surgical precision and Surrealist spontaneity brings to mind Comte de LautrĂ©amont’s famous quote about the chance encounter of a sewing machine and an umbrella on an operating table. However, in Pfaff’s hands, these combinations never feel random. It’s almost as if the materials themselves dictate how they should come together, creating a harmonious whole.
What sets Pfaff apart is her mastery of diverse scales and materials. In “Light Years,” the range of works on display showcases her ability to work on both grand and intimate scales. The largest piece, “finite sequence of mathematically rigorous instructions” (2025), stands over 8 feet tall, spans 40 feet in length, and is 14 inches deep. On the other end of the spectrum, “Purple” (2025), one of the smaller works, measures 19 by 26 by 11 inches. This versatility is a testament to Pfaff’s refusal to be tied down to a signature style even after more than 50 years in the art world.
Three works in the exhibition feature recycled woven plastic carpets: “Travels to Bisnegar,” “Rood en Groen (voor Sjorsje),” and “CARPETRIGHT” (all 2025). Each piece showcases Pfaff’s unique approach to arranging the carpet, from a flowing surface on the wall to a coiled plane folding in on itself. “Travels to Bisnegar” evokes images of mythological flying carpets and the ancient trade routes of the Silk Road. “Rood en Groen (voor Sjorsje)” uses a red and green carpet as the starting point for a composition that includes plastic flowers, epoxy resin, and LED lights.
One striking aspect of Pfaff’s work is her use of neon light as a form of drawing that interacts with the sculpture. The neon tubes add a dynamic element to the compositions, blurring the line between sculpture and light installation. In the smaller wall works, the neon plays a central role, while in the larger pieces, it serves to illuminate the forms from within, drawing viewers in to explore the intricate details of each piece.
Pfaff’s sensitivity to color and cultural symbolism is evident in works like “blue is for sky, yellow is for wheat,” which references the colors of the Ukrainian flag. By transforming these symbolic colors into tangible objects like tree branches and flowers, Pfaff creates a multi-layered narrative that invites viewers to consider the connection between color and cultural identity. Her ability to tackle specific subjects while leaving room for interpretation is a testament to her skill as an artist.
In conclusion, Judy Pfaff’s “Light Years” exhibition at Cristin Tierney Gallery is a testament to her enduring creativity and willingness to explore new possibilities. With a career spanning over five decades, Pfaff continues to defy expectations and push the boundaries of her art. It’s time for a New York City institution to give her the recognition she deserves. Serious, whimsical, tender, and fantastical, Pfaff’s work is a unique blend of influences that is both influential and inimitable.
“Judy Pfaff: Light Years” is on display at Cristin Tierney Gallery until December 20. Don’t miss the opportunity to experience the work of this remarkable artist.
