Here is what I wrote for the show at Way Out Gallery.
- 1. of or designating a verb tense or form indicating that the action or state expressed by the verb will be completed by or extended up to a time in the future.
- the future perfect tense
- a form in this sense
These works were gleaned from two separate but related projects that I’ve been working on for the past 8 years: Minimalism Elite, which re-imagines the past, and Future Living Projects, which imagines the future. They are similar aesthetically but differ in context. Minimalism Elite began as a collection of work that looked for inspiration from the past, at a short period of time after the prevailing trends of Modernism but before the post-capitalist strategies of conceptualist art, driven by collectors eager to consume and invest in a new growing corporate art market. Future Living Projects started as an exploration of art that existed somewhere between design and architecture, a theoretical construct to organize potential possibilities for both a utopian and dystopian future.
The sculpture series A Theory of Forms and Ideas takes its name from Plato’s concept of idealized form which postulates the existence of a “reality” inhabited by the ideal or archetypal form of all things and concepts. The sculptures posit themselves as anti-monuments, an articulated set of organized possibilities that inherently create an awareness of scale that shifts the viewer’s relationship away from traditional, monumentalized work, toward a position of enhanced intimacy. Their form is perceived in one instantaneous and inseparable way as mere simple objects concealing the planning and craft needed to complete the final product.
The painting The Pleasure of Deceit offers a mental construction of an insidious fantasy, a projected form that intuits the cynicism of human nature while Journey Into the Realm of Reason, Burning From the Inside and From Safety To Where…? expose the ambiguity of space–between knowledge and fiction and disorder and the Cartesian grid–distorted by unending vanishing landscapes. Perspective is used as a marker of spatial infinity, a visual reminder of the simultaneous existence of both a theoretical probability and physical impossibility, the antinomic dialectic between an optical glitch and mathematical certainty.
The Architect’s Tomb functions somewhere between sculpture and furniture and hints at the possibility of an intrinsically temporal dimension, a space that is internal and external in which nothingness eternally asserts itself as a permanent unknown. Light becomes a hypothesis of suspended physical transformation where mass and energy collapse, imposing a new, more solid and immanent objectuality, an entombed immobility of a future that is both present and past.