Fatigue Bones
Sep 26 – Oct 3, 2016
Medical stretchers, bathroom stalls, walls, and doors are some of the more concrete associations conjured by this new series of double-sided casts. The rebar and wire mesh elements not only provide support for the various surfaces, but also supply the work with material for their content and imagery. Cement, plywood, rebar and mesh tend to conjure associations to surfaces and surroundings of everyday lived experience, providing a referentiality at odds and at play with abstraction’s claims to purity and ethereality.
As double sided object-like obstructions to space, rather than windows out into a world or as mirrors that reflect our surroundings, the works in the exhibition emphasize the relative vantage point from which they can be experienced. Their double sidedness, more a happenstance resulting from the specific effects evinced through particular working methods, and their relationship to bodily movement and scale— rather than a making literal of the double sided, as in duplicitous, deceptive object or device.
More an attempt by the artist to grasp beyond the quiddities often associated with painting and with sculpture, rather than a wholesale rupturing from either. It is in this more modest sense, that the painterly objects are equally generative and disruptive peregrinations along the classifiable peculiarities of the two realms. The non-orientation specificity of the components that make up the individual works (that their fronts, backs and sides) are all surfaces imbued with specific effects, furthers their traversal away from their identification as paintings, while the application of color via liquified pigments and dyes and paint — and the emphasis on the two dimensional portions of the works, furthers them from being identified as sculpture per se.
Their placement as individual works within the exhibition space is intended to disorient or make-strange our everyday experiences with objects and the environments in which they are in.
