DC Moore Gallery is pleased to present Interlayered, an exhibition of work by Valerie Jaudon, Joyce Kozloff, Whitfield Lovell, and Chie Fueki. Each of these artists create intricate explorations of space, meaning, and memory. Interweaving repetition, reference, order, and disjunction, each artwork contains complex networks of relations. These relationships extend inward and outwards, including the viewer in a participatory search for meaning.

On view are rare examples of Valerie Jaudon’s earliest paintings, which add context to a major 1976 painting currently on view at MoMA in the acclaimed exhibition, Woven Histories. A pioneer of Postminimalism, Jaudon subverted the dominant conventions of geometric abstraction, merging references to the decorative traditions of Islamic and Celtic art, as well as Gothic architecture. Jaudon was drawn to the intricate designs of these traditions, as well as their duality of being highly cultivated and broadly popular arts. She sees abstraction as a shared form of communication: “A painting is a kind of decoding device for the culture from which it comes. We live in a world that’s complicated and abstract––nothing is simple anymore.” Jaudon interweaves open-ended systems of straight lines and curves to create subtly disordered order. These interlocking patterns, while seemingly continuous, are full of stops and starts, creating a labyrinthine network of disruptions and possibilities.

Joyce Kozloff has been known since the 1970s for her political and feminist artwork addressing cross-cultural issues. In the 1990s, Kozloff began using cartography as a framework to draw out connections between patterns of political, social, economic, and cultural power. Densely overlapping systems of information, she creates literal and conceptual collages. Her three Bodies of Water paintings (1997-98) are rare instances of the artist incorporating the body into her mapping works. Kozloff layers diagrams of the human circulatory, digestive, and respiratory systems over navigational charts of the Baltic Sea. Kozloff created the works after traveling these waterways herself, inflecting the supposedly objective form of the map with her direct experience. Merging the macro and the microscopic, the works investigate the embodied experience of movement and travel and the creation of knowledge. Selections from her series of Boys’ Art (2001-02) collages are also on view, in which Kozloff juxtaposes images of her son’s childhood drawings of superheroes with warriors appropriated from art history and pop culture on detailed drawings of historic battle maps. Creating new plots and subplots within the maps, Kozloff explores the creation of masculine identity and the glorification of war through iconography.