Carving line(s).
Continuous...
And break... (frame).
Very formally, works in this show ask a viewer to think harder about how things that define themselves by linear continuity and its other relate to objects that occupy opaque volumes. Said objects seem more like a second body of work than anything connected with the works that I like most in the show, works that take the curving, carving line as a relief cut and sculptural tool within the space of a flatter surface, a painting. In all instances, how each work carves or is carved by its surroundings does lead toward wholeness in terms of individual parts (discrete works (2, 3 or 4d) which in turn cohere). Is that enough in terms of ideals (concepts that suggest concern with dimensionality, broken planes, and spatiotemporal continuity) or do these forms merely stretch toward style and I'm simply putting too much on them? Perhaps there are clues in the superball (a material, shape and color associated with other works in the show), an object that also functions unpredictably and playfully when activated in other contexts?
An afterthought conjures the word "circus," which in its most literal means "about" or "around." Somehow this fits the circuitry of this show. Then again Calder mobiles as well as seals balancing balls on their noses are not far off here, in which case we return to simple play and balance of forces, representationally in two-dimension and literally in three and beyond. In whatever reading we choose with this body of work, there is certainly a lot to sort out, and I still can't decide whether I was looking at one, two, or three shows.
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