Domestic Objects explores concepts of our constructed private spaces, belonging, family, domesticity, and material possessions.
Through October 17, 2012
‘Domestic Objects’ works in a myriad of materials, recasting elements,that form a finite object then sets about reorganizing it until our conception of function and ornament is brought into question. The works and their inherent physical characteristics, which exist and engage real space, break down and explore the underlining ideas by reimaging and rearticulating mundane objects.
Infinite weft textile is collaboration by Jer Thorp and Diane Thorp: mother and son.
‘Infinite Weft is a weaving simulator that generates endless, non-repeating patterns. It works the same way a real-life loom works - indeed, the patterns (called draw-downs in the weaving world) can be downloaded and used to make textiles. Unlike a real-life loom, this one can weave endless patterns; it can literally weave forever without repeating itself. Currently the endless pattern is being generated using Wolfram's Rule 30.
The art of hand weaving is fading memory. Yet, it's incredibly fascinating from a mathematical perspective, and from the angle of computational history (Jacquard looms were a big influence on the first computers, and the binary logic of weaving is closely tied to the base logic of computation).
Weaving also has a great deal of personal meaning to me. My mom, Diane Thorp, is a master weaver, and I think being surrounded by textiles and their underlying mathematics was a huge influence on my work and me. This project is an attempt to re-embrace some of those beginnings, a chance to work with my mother, and a foundation for more work with real, physical looms.’
For "Untitled" (Orpheus, Twice), 2012, Greg Allen alters Felix Gonzalez-Torres' elegiac 1991 work, cutting one of the pair of identical, adult-sized mirrors down to a toddler's height. In Gonzalez-Torres' original conception, the work's evocation of the musician of Greek myth who travels to Hades in hope of bringing his beloved Eurydice back from the dead, has been understood as a reference to the artist's own partner Ross Laycock, who had just died from AIDS-related illnesses. Former MoMA curator Rob Storr has also noted a formal resonance between Felix's piece and Jean Cocteau's 1950 film version of Orpheus, set in postwar France, in which a bedroom mirror becomes the mourning hero's gateway to the underworld. By transmuting the twinned mirrors' allusions from lovers to parent and child, Allen's simple gesture renews and expands the senses of personal loss and political outrage of Gonzalez-Torres' original. By faithfully preserving the rest of the work, including the title, "Untitled" (Orpheus, Twice) marks the ground traversed in the intervening decades; from a fight for survival against homophobia and the AIDS epidemic to marriage equality and gay dads. Changes Felix might have taken measure of himself, if only he were still here.
John Powers presents a new series. John who is known for his work in relation to the cube and provides the viewer with what is essentially domestic objects abstracted – Sofas covered in white damask then covered in plastic circa 1960’s - just like grandma’s house pillows, ottomans and rugs, That are fully abstracted, taking off in different directions pushing, pulling, precariously standing on edge yet holding their own as not quite discernable objects. To that effect the viewer encounters each object with unquestionable curiosity, a bit of amazement and a touch of wit.
Adding to the mix is Susanna Starr the hallmark of her work is translating materials in unexpected ways with a witty sense of play through a carefully balanced use of contradictory materials - Susanna’s large absurdly delicate objects of meticulously hand cut in wood veneer provide a punctuation of domesticity and in many ways the role women play in that domain.
‘Wood veneer pieces - The pieces are hand-cut from thin sheets of wood veneer - a material that is rich in associations as well as contradictions. Composed of solid wood, yet outlandishly flat - they challenge the very definition of "object".
Using a penknife to cut intricate lace patterns into the veneer, this work is strongly related to my painted and layered Mylar cutouts, but with a very different focus. Here, I am interested in exploring the nature of wood as a material - and in particular, the dynamic transformation created between material and image. In these pieces, both the furniture and its innocuously decorative doilies have morphed together into one large, absurdly delicate object, compressing and distorting both image and material. Humorous, contradictory, and quietly subversive, the doily has gone wild and the wood has been fully domesticated.’