Selected works by Ry Fyan

Ry Fyan
The Metropolitan Meth Silo

2006

Acrylic and ink on panel

30.5 x 35.6 cm

Ry Fyan’s dystopian architectural fantasies have all the complexity and meticulous visual invention of, as the artist puts it, “drawings on a notebook from childhood.” Improvisational in method, yet drawn from a number of remembered sources, Fyan’s drawings represent a bleak vision of American power. In The Metropolitan Meth Silo, a many-turreted castle, US flags flapping from its pinnacles, crouches on the horizon against a sickly sky. Small human figures scuttle in its shadow, but there’s no sense of the building being enterable; its grand arches seem bricked-up, a vision of authority at odds with the world around it. The drawing’s title makes some unnervingly jarring references to the Metropolitan Museum of Art in New York and the epidemic of methamphetamine abuse in America, the juxtaposition calling upon different structures of power in its feverish collision of signs.

Ry Fyan
Hood Rich

2007

Ink, acrylic & pencil on paper

31.8 x 39.4 cm

The image’s original source, a 1903 photograph of a ‘Corn Palace’ in North Dakota – a huge temporary structure built annually of dried corn, made to celebrate agricultural abundance – gives the image its densely worked patterning and alarming swastika (actually a Native American symbol, but its resonances would be hard to miss). As in Fyan’s Hood Rich, the iconography of American power appears to have created its own enclosure – it’s both fortress and prison. A stack of Sudafed boxes (their contents the raw material for making meth) epitomize Fyan’s vision of the rotten heart of corporate America; the drawings’ dreamlike specificity and imaginative glee saves them from dogma.

Ry Fyan
The Cactus Bird

2007

Acrylic on board

22.9 x 35.6 cm
Ry Fyan
The Reason Why So Many Things In This Life Are An Outrage Is Because You're So Gentle

2007

Acrylic and enamel on panel

50.8 x 50.8 cm
Ry Fyan
Still One Place Left To Go

2006

Acrylic on board

58.5cm x 66cm
Ry Fyan
No and Yes (SenĂ³r Frog's)

2007

Acrylic and enamel on wood panel

127 x 172.7 cm
Ry Fyan
Spontaneous Self Organization

2008

Oil and acrylic on wood panel

182.9 x 213.4 cm
Ry Fyan
The Things in Front of the Eye

2006

Acrylic, enamel, ink on metal plate

Painting: 43.2 x 49.5 Viewing Device: 63.5cm long

Text by Ben Street


Articles

RY FYAN - AMERICAN CONCENTRATION CAMP


The Proposition Gallery is pleased to present "American Concentration Camp" a series of recent works by New York based artists Dash Snow, Ry Fyan and Nico Dios curated by New York artist Andreis Costa.

Using hybridized drawing, painting, collage, and assemblage, the artists excavate and analyze societal remains from the past and present, both physical and metaphysical. Through this archaeology the work challenges trends and theories of the media mainstream.

The excruciatingly intricate panel works by Ry Fyan discuss a similar irony existing in this new generation of artists. Critical distance from the present stride towards technology and progress, the ascent to the future has many harking back to a familiar era where hand, craft and the maker's identity show through product labels and distortions in media. Invented cityscapes scattered by seemingly discarded everyday products strewn throughout.

With obsessive detail Fyan paints fantasy landscapes using spray paint, enamel and oil. The work is influenced by disaster both natural and man-made, the daily waste of a metropolis is buried within color fields and building structures rendered from preliminary drawings on layered transparency and collage.

Source: theproposition.com