Thea Djordjadze’s practice is defined by sculptural environments that are continually reinvented in response to each space they inhabit. Unlikely material combinations generate tension throughout, while her ongoing investigation into institutional modes of presentation raises questions about how context shapes the interpretation and perception of art. Sprüth Magers is pleased to present A well of night, Djordjadze’s first solo exhibition at the gallery’s New York location, where new and revisited works are set into dialogue with the specifics of the neo-Renaissance-style building.

Djordjadze has described her titles as sculptural in their own right, shaped to set a mood. A well of night emerges from a sustained preoccupation with spatiality, space and depth, and keeps that concern legible on two levels at once: literally, as a deep and lightless shaft, and figuratively, as night’s inexhaustible, engulfing quality. Neither sense cancels the other; instead, the title insists on a…