Charles Clary layers colored paper to build up variegated textures and sinewy shapes into large scale installations. His constructions appear ever-expanding, overwhelming exhibition spaces like replicating viruses or reverberating sound waves. The pieces may look like they’re highly orchestrated precision-cut sculptures, but Clary favors a more organic creative philosophy: “It’s all intuitive. It’s just one layer playing off another, playing off another,” he says. “But I do try to make the viewer wonder whether they’re handmade or if industrial equipment is used, so I have to be very clean with my cuts.”
