A conversation between Chris Sharp and Myles Starr within Starr´s solo exhibition
The Name of the Rose
[…]That the view of a painting resembles the view through an open window was already described in 1435 by the Renaissance scholar Leon Battista in his treatise on painting. In Starr’s pictures, the window comes into focus as a motif. Through the paintings he calls upon the aesthetics of a leopard carpet, anthropomorphic sculptures or decorative interiors. They are fragments of the memory of episodes — banal as well as powerful — of life in New York, which takes place against the backdrop of the skyscrapers.
The visual experience of New York cannot be separated from the high-rise facades of the city. The exhibition’s sculptures are directly linked to this and emerge in a process in which the artist incorporates and reworks materials and objects from his immediate surroundings, and then alienates them and partially dissolves them again. […]
Juliane Bischoff