Maccarone NY, 29.10 - 19.12.2015
Not all of them have travelled all the way across the Atlantic, so what you are looking at is a distillation of an already rigorous distillation. However, they all do come from the same luminous studio on the second floor of an otherwise lifeless warehouse, some 5455 miles away. In that room I would always sense a mix of mysterious improbabilities, for instance, I always felt that they have the ability to cleanse the energy of the room or cool down the temperature and dim the noises coming in from the numerous windows surrounding the studio.
What if these powers emanate from their earthly materials? Mountain rocks; fragments of terracotta; metals in a state of coolness. While trying to verbalize this feeling of calmness I sense around them I scribble down: Noise mutates into white noise, focus shifts inwards… Something happened before now and now everything is cooling down.
Before them I feel the total freedom from geography or historical time. Are they from the past, the present, the future, or are they fragments of an interstellar archaeology? In a way they Â manage to purify from the greatest contaminant of all; ones expectations.
Of course, I cannot ignore the possibility that these impressions are mere mental projections of the fact that I am aware that these are pure objects themselves; each and every one of these clusters has been gradually stripped down to its most essential elements. Try to lift an object from the Fugue of Founds or the mountain rock from Frame Work and both structures will immediately collapse. This manufactured balance acts as a binding agent unifying the different elements of each cluster, while also instilling movement in them.
In some, the body is inscribed and mediated but never overstated. In Monoblock Measurementsâ , the average human body as envisioned by the universal chair is communicated through fragments cast in lead. The weight of lead makes them look like oddly shaped humanoid limbs and before them one can catch a glimpse of the future archaeological museum. In Guide Lines, the camera zooms in on the hand of the craftsman caught in the act of making. But what is it making? A universe of things, derivatives of everyday items, since this is a collection of guides created by shaping rods of Bronze on various objects and forms. Now these abstractions act as propositions and tools for making possible, yet, possibly useless objects.
Is their subtle sense of humour cooling down the room temperature?
Looking at the serendipitous teaming of a pile of stones and a terracotta pot wittingly called Stone Wareor the pun-sculptures Frame Work and Guide Lines , one unconsciously smiles but also realises that words here are treated as objects.
In Daily Life, the interdependence and unity between forms is a recurring theme that is perhaps more obvious in the cases where there is a found and a made . For example, in Fugue of Founds and the various Complementary Forms, the fragment is being extended by first becoming a guideline for a complementary form, which is subsequently rendered in a heavier material. The incompatible materials highlight the relationship and interdependence between the two otherwise compatible forms that appear as one.
The found in Daily Life is reimagined, completed, doubled and equally made.
And so, it disappears each time it faces a possibility of itself.
Written on the occasion of Daily Life at Maccarone