Guy Dill's new sculpture and wall panels at Bobbie Greenfield Gallery instantly engage the viewer in a game of puzzle-solving mystery, an information exchange that is honest and direct without giving it all away on first glance.  Like any good relationship they are related but not identical.  These deliciously joyful works achieve lightness of being despite their massive substantial physical form and weight.  

  

The free-standing sculptures transcend their machined fabricated ancestry into a lyrical poetic nature.  With our human cognition we tend to view in these abstracted arcs and circles our own human natures.  As in all seeing, what we see is ourselves.  Like dancing spirit forms, they take on the essence of their Indian word titles from Chandri to Pooja, they do not invade the senses, but rather pervade, enlivening with a hint of exotic influence.  

Guy Dill is a builder of sculpture forming the unexpected - these sculptures depict what they are, not illusions about something else, they are factual but not representational.  The natural progression from the cutouts in the wall panels to the sculptures becomes the everyday puzzle-solving activity of simply trying to relate one thing to another. 

Mahoot, the piece whose placement lies directly in front of three panels presents us most clearly with seeing how the show is built around how the work behaves, revealing for us the artist's point of view.  The show divulges itself over time like a mystery unraveling its tale with clues and breadcrumbs, the greatest enigma lying in the fact that all the pieces are laid out right before you, an open book and a real adventure.

 

- Angel Chen