On the left side a curtain is drawn, revealing a “stage” of activity. Letters as memos or people flutter and float about, waiting for direction or going about their business. Lines and a string tensioned by two bottles cut across the space. A heap of detritus rests near the baseboards, surmounted by a small telephone pole whose wires connect to the strings. A window opens into a landscape, or is it a painting hung on the wall? A hat suspends next to it. Round splotches of watercolor dot the scene with muted color. Text rectangles of unknown origin poke out here and there. The story goes on and on.
And thus every nook and turn is a discovery in David Scher’s new drawings at Pierogi. The charm of these works lies in their ability to lead the viewer on an animated journey, where, as they say, the destination matters little. Many are populated by innumerable letters of varying typefaces and scales. These are incipient languages or discourses waiting to happen, or sounds that cast their own notes as they gather in circular or rectangular formation. They inhabit spaces containing more recognizable objects, from books to lifts, to people profiles. Scher’s yellowed paper gives them the look of antiquity, not unlike old cartographic posters.
Without deliberate reference to Occupy Wall Street, the artist’s Surrealist circus of “characters” (literally and not) equally claim territory and resonate with their messages. Some are more articulated in their beliefs while others ramble on and are there just check out the free soup line. Regardless of the narrative, and like all great stories handed down, it all somehow feels substantial. They are small or tall tales that occupy a brief yet significant moment in time.
Images: Detail Bagnolo Series W10, 2011, Ink, pencil and collage on paper, 22 x 30 inches; Bagnolo Series W6, 2011, Ink and pencil on paper, 22 1/4 x 30 inches. Courtesy Pierogi Brooklyn.