New and Old Work in If Not a Note, a Chasm

From June 1-June 22, a new sound sculpture called Cascade Flow is included in If Not a Note, a Chasm at Site II (33 New Broad St), the launch exhibition of Jenn Cacciola’s new curatorial project, Neptune in June. Site I is at MapSpace and features two older works, Spectral Dust (2017) and Marsyas, Supplicant (2015)

Cascade Flow was conceived of in dialogue with early artworks like Cold Fracture Dust, Opus Conscientia and artworks combining the (for lack of a better term) “colors” black and brass. However, I introduce to this artwork the use of what I think of as a “sound field”. Each tetrahedron plays sound at a different height, creating a spatial quadraphonic experience.

Cascade Flow, 2024

The sound itself resembles an alien sort of breathing designed to enhance the sculptures uncanny, quasi-human presence. The use sound becomes a way to emphasize the time-based experience of this 3D sculptural artwork; the viewer, engaging with this sonic environment, enters into the flow of the sound. In that sense, Cascade Flow embraces flux, motion and transition. So much of our everyday lives depends on illusions of stasis, certainty and stability. While these things have their role and provide comfort in an otherwise chaotic universe, Cascade Flow proposes a speculative experience: what if, rather than embracing the noble lie of stasis, we embraced the flux of time, where meaning is constantly evolving, destabilized and yet perhaps somehow more “true”?

End-Times Playlist and On the Edge of the Infinite

In August 2022, I began co-curating with Sophia Sobers and Laura Horne a series of small, one-night-only group exhibitions called On the Edge of the Infinite. The focus of these exhibitions would be on artwork emphasizing light, sound, video, performance, and the ephemeral. For the first iteration of this series, each of us (the co-curators) created an installation and did a live sound performance to set the direction for these events.

My performance was called End-Times Playlist. In my artwork, I often borrow imagery from historical diagrams of the 1796 Transit of Venus, a historical event observed from synchronized vantage points by teams of intrepid scientists scattered across the world. For End-Times Playlist, I recreated a close up of one of these diagrams using sequins. My aim here was to create what was essentially a kind of disco ball “scattered light” effect at the scale of a rug. To do this, I pointed lights at it to bounce the reflections upwards. A neon arch called Eidolon appears overhead.

To create this type of sound, I am more interested in removing distinctive qualities of the guitar than in observing established guitar aesthetics. The distinctive pluck of the string, a.k.a., the “attack”, is shaved off, instead creating swells. And rather than creating the pristine tones most recordings aspire to, I introduced noise, warble and lowered the characteristic brightness we are accustomed to in conventional recordings.

Eidolon, 2023

Conceptually, this piece continues my inquiry into common perceptions of End-Times. For example, in the mass media, cataclysmic scenarios are generally portrayed as evoking the basest of human instincts on a wide scale. What else might the end of the world look like? How else might we cope with an End-Times scenario? David Bowie’s song Five Years explored this subject matter in vivid details, envisioning scenes occurring in a world where we are aware that only five years remain, presumably of life as we know it. End-Times Playlist reimagines the sounds of End-Times not as something decadent and extreme but rather something tender and heartbroken.

Transits: A Text Culling Together Artworks from 2015-2023

I didn’t go to school for art (although I did study Art History), so when I arrived at graduate school, I had absolutely no idea what the experience might be like. This is not an exaggeration. I didn’t know what the classes would be like and even wondered if the next two years might consist of some magically structured abundance of studio time. I hadn’t deliberately “made art” in quite some time and had no idea what my work would even look like. And I certainly didn’t expect that I would have to compose a formal academic writing, i.e., a written thesis. When I learned this, I thought to myself, well, if a thesis is what they are asking for, a thesis is what they will get. My final document was over 100 pages, with the bulk of it consisting of progressive theses inspired by, and responding to, Ludwig Wittgenstein’s propositional style in Tractatus Logico Philosophicus. In the end, I quite enjoyed the process of putting my thoughts to paper, supported by the images that helped me think through them.

Cover of Transits

Since then, I’ve maintained an ongoing writing practice as a way to memorialize the underlying ideas of my artwork and, through this process of articulation, ensure that I remember and remain in dialogue with these ideas conceptually. My most recent undertaking in this vein is a book I’ve written called Transits. Transits begins where my thesis left off and leads up to Spring 2023, when I exhibited Theatre of Prodigies.

One of the romantic ideas of around visual art is that it can and should speak for itself. I might even agree with this, depending on what day you ask me (although this is a much bigger subject). But artists have also written extensively and articulately on the subject of their artwork for centuries. Why wouldn’t they? They are in the business of communication, and are seriously invested in this thing they do, not only as makers but also as thinkers. I like to think of these texts as a tool for sharpening my own thinking and as my own contribution to this legacy of artists that write.

Theatre of Prodigies @ Ohio State University Lima

From February 27 to April 13, 2023, Ohio State University Lima hosted my solo exhibition Theatre of Prodigies in the Farmer Family Gallery. A “prodigy”, in Ancient Rome, was an extreme natural phenomenon. Prodigies were documented for divinatory purposes. Today, we like to think of ourselves as beyond superstitious practices like these, but we still attempt to draw out meaning from apparent patterns, unusual events, and more. Often, our predictive impulse is intimately linked to apocalyptic fantasies.

Monument, 2023

The term “apocalypse” isn’t an all-purpose synonym for “end of the world”. Rather, it refers to an explicitly biblical narrative and brings with it all of its related connotations. Its use is pervasive in everyday life, and its symbology is just as potent in the Judeo-Christian imagination. The artworks in Theatre of Prodigies think about End-Times from a more general perspective and employ the term “End-Times” to distinguish speculative futures and from these more canonical narratives. Is it possible that by projecting familiar narratives of the end into the present that we are, in fact, bringing forth such endings to the extent that they can be realized? What might an ending look like separated from such narratives? And can an ending be ongoing over time rather than the conclusion of a cataclysmic yet fairly rapid string of events? What ultimately determines an end? The closer we examine this idea, triangulating it with various perspectives on end-times, the more elusive it becomes.

Theatrum (The Beholders), 2023

While I had used text-to-image A.I. in a few of the pieces from 2022’s Dawning, almost every piece in Theatre of Prodigies contains some A.I. generated element. Whereas I was originally drawn to A.I.’s uncanny eccentricities and failures, in Prodigies, I was more interested in the End-Times narratives being projected onto these not-so-new but now more visible technologies. Whether or not these scenarios have any truth to them, I found the doomsday discourse interesting since it was like being able to witness the creation of a mythology in real-time. It struck me that while A.I. could indeed be used for evil, we are still at an early enough stage that A.I.’s story was still very much in flux. And what better way to direct this narrative than through art making? This is one of art’s unique powers: that ultimately, in all its forms, art defines the story. Isn’t this the whole premise - and hope - behind any type of representation in art?

The Comforts of Fate, 2023

The artworks in Theatre of Prodigies combine sculptural objects, architectural-scale installation components and 2D imagery. Part of the idea was to spatialize the otherwise screen-based, 2D A.I. images incorporated into these artworks. But, to relate it back to the End-Times narratives around A.I., these specific images were selected not only for their compelling scenery, but because they are open-ended. They seem to suggest something ominous, perhaps even catastrophic, but, under questioning, would reveal nothing specifically disastrous. The underlying message here is that the story these artworks, in the end, is the one that we put there.

Observatory, 2023

Dawning @ Peep Space, Solstice @ Flux Factory and De Umbris et Figura

My solo exhibition Dawning ran from May 20-June 19 at Peep Space. The artwork continued my use of light, shadow and reflection as a medium and my thematic explorations of our attempts to understand the unknowable.

The centerpieces of the exhibition were 3 large “arches” called Passagers. The Passagers were designed to interact with the space to guide visitors to intimate, meditative moments with smaller pieces.

Made of polished aluminum, the Passagers were also designed to expand, contract and transform the space with shadows and reflections.

One of the promotional images for Dawning was created with a text-to-image platform called Midjourney. Between March 11 to around June 13 of this year, I created thousands of images using this platform. I collected about 100 of them into a text called De Umbris et Figura.

I also participated in a group show called Solstice curated by Jonathan Sims at Flux Factory on Governor’s Island. My two contributions continued the conversations in Dawning with an emphasis on human scale in comparison to sublime and grandiose natural phenomena.

Lockdown and After

I’m fortunate to have made it through lockdown in good health for myself and those around me, and during that time I was also lucky enough to have continued opportunities to share my artwork in some really fun and fascinating exhibitions. Here are a few.

My piece Chromatic Array was included in the Wassaic Projects 2020 Summer Exhibition. Originally intended to be in person, it moved on line and was accompanied by a beautiful print edition.

A related piece, Chromatic Intervals, appeared in Minimum Space Requirements, an exhibition curated by Suzanne Dittenber, Luke Whitlatch and Jackson Martin under the auspices of Tiger Strikes Asteroid Greenville. Appearing in a beautifully crafted Little Free Library-style box on the side of a hill in a residential neighborhood, the show was a fun and perfect display of hope and resilience during times that were still (and remain, even as I write this in 2022), very challenging.

Completed during the pandemic, this triptych titled Radial Harmonics II, I & III, was included in Place/Displace at Pratt Institute’s Schafler Gallery, curated by Linda Lauro Lazin. An exploration of the relationship between certainty/uncertainty and Utopian dreaming, much of the imagery and themes in these paintings continue to recur throughout my projects. In a way, it is a kind of a manifesto.

I contributed this piece, titled Hierophanies, to Light Show, curated by Ben Shattuck at DeDee Shattuck Gallery. Created while in residence at 77ART in Rutland, VT, Hierophanies is part of my continued exploration of projection as a source of light, and light as both meaning and medium. Projected onto 4 plexiglass boxes, the boxes seems to glow from within as images slowly drift by across them, periodically interrupted by wild prismatic flames. Hierophanies synthesizes themes of ecstatic vision (Anarkhos) with Utopian dreaming (Pure Phase City).

Monday February 3rd: Space & Desire: The NYC Apartment Gallery in 2020

Space_and_Desire.jpg

Save the date! On Mon Feb 3 I will be moderating a panel hosted by Artists Talk on Art on the subject of NYC apartment galleries: how they begin, grow, end and/or transition. Our illustrious speakers will include J. Simmz (Doppelgänger Projects) , Lauren Wolchik (Gloria’s Project Space), ⁣⁣Steve Mykietyn (Orgy Park), and Olivia Swider & Michael Fleming (Selenas Mountain). It's an honor to be able to participate in conversation with this outstanding group of impresarios. Thanks to Peter Duhon for inviting me and to all the panelists for coming on board. I hope you can join us!  More info below.

SPACE AND DESIRE:⁣⁣
THE NYC APARTMENT GALLERY IN 2020⁣⁣

Monday, February 3rd 2020
12 West 12th Street, New York, NY
6:00 PM – 7:30 PM EST
Doors open at 5:15pm
$10 entry

J. Simmz
Doppelgänger Projects

⁣⁣Lauren Wolchik
Gloria’s Project Space

⁣⁣Steve Mykietyn
Orgy Park⁣⁣

⁣⁣Olivia Swider
Selenas Mountain

⁣⁣Steven Pestana
Organizer and Moderator⁣⁣

More details:
https://www.atoanyc.org/

Image Credits:⁣⁣

⁣Doppelgänger Projects: Katherine Finkelstein & Alison Kudlow
Selenas Mountain: Andy Cahill, Pastiche Lumumba
Gloria’s: Leah Dixon
Orgy Park: Phoebe Berglund

Collectors @ Space 776 and Fortress of Solitude @ Super Dutchess

In September, Space 776 in Bushwick hosted my most recent solo outing, Collectors.

In terms of process, I’m most inspired by space. When I encounter a new space where I will be exhibiting my work, my mind is immediately flooded with visions. The possibilities of a space can become the basis for a whole new body of work. Space 776, with its unique architectural details and rich natural lighting, was an exciting canvas to work with.

The central idea that I was exploring in Collectors was how we take the chaotic mass of information that surrounds us every day and turn it into comprehensible information and ideas.

The first image that entered into my thoughts came together into a piece that ended up being what I considered to be a skeleton key to the show, Phase Realia via Memory Tiles. Phase Realia captured the most facets of this theme. In its structure, it included a sort of lens and an object evocative of an antenna —devices for receiving and transferring information. A small vitrine displayed the strange, half-formed output of these unorthodox data collectors.

Other pieces were conceived less as “instruments” in their own right and more as artifacts of an imagined conversion of raw data into discrete concepts. For these pieces, I borrowed visual devices from map projections and tessellations, both of which I was looking at both as formal languages as well as instrumental methods of imposing form upon otherwise amorphous bodies of information.

Most important for my own recent research as I move forward is what I have been referring to as “the authority of objects”. From a big-picture perspective, this can refer to the way permanent or long-lasting structures of great scale can predetermine our behavior — infrastructure, architecture, urban planning, and so on. On a more microcosmic level (which I believe may be more consequential), I was looking at how our objects become an externalization of our consciousness. How do the objects we surround ourselves with become a sort of hard drive for our psyches, not only a record of possession and ownership, but, perhaps more importantly, also extensions (or hindrances) of our agency? How much of possibility or potential is predetermined or foreclosed by the objecthood of the things that surround us?

1/2 of the two tables which comprise Primal Quadrant also made a reappearance in September at Super Dutchess gallery on the Lower East Side. Curated by Andrew Woolbright, the piece is shown alongside some excellent work by Kajahl, Joe Bochynski, Marco Tulio Venegas, and Roque Montez. It was nice to revisit this piece, which is now 5 years old. It was reassuring to know that I am as sure today as I was when I first made the piece about the ideas in this piece, and the way they are captured and expressed in the format. Like Phase Realia, it remains a sort of skeleton key, not only to the body of work that Primal Quadrant was a part of, but also a road map to the work which followed, and continues to follow it.

The Aurora Chamber @ Play/Ground

In October, I had the privilege of participating in a unique exhibition focused on installation art called Play/Ground. My installation was called “The Aurora Chamber”. It took place in a decommissioned high school, now called Mustang City, in a charming town in Western New York called Medina, just east of Buffalo. Here are some images:

One of the (many) highlights was my performance on opening night with Sophia Sobers who also did a live improvisational scoring of the installation before and after the performance. Here is an excerpt of her atmospheric sounds:


One of the goals of the Aurora Chamber was to work with light, reflection, translucency, and shadows. When it wasn’t cloudy (which it was, most of the time), a dazzling grid of rainbows could be seen coming through the windows where I had created an otherwise imperceptible installation. But the Aurora Chamber was not only designed to harness the sunlight, but also to be equally experiential at night when the shadows really came to life.

The centerpiece of the show, called The Martyr’s Tablet, was a sound and video installation that reimagined a piece called Tristia from my show In Raptures. You can view an excerpt here:

Play/Ground was presented by Resource:Art in partnership with Hallwalls and Rochester Contemporary Art Center. Anna Kaplan, Elisabeth Samuels, and Emily Tucker did an amazing job curating and producing the project.

Thanks to everyone involved, more to come soon!

BOS, Fertile Solitude, Satellite Art Show and Mass MoCA

I’ve spent the better part of 2016 shifting gears in both life and art. With two shows to close out 2016 and a residency at Mass MoCA, I have lots of exciting news to report! 

Last week, I inaugurated my long-awaited return to NYC by participating in Bushwick Open Studios. It was as great a homecoming as I could have asked for, with hundreds of friends and friendly strangers passing through over two days. Visitors previewed new work for two upcoming shows, Fertile Solitude and In Silhouette.

For both exhibitions, I’ll be showing pieces from a new body of work called Anarkhos, inspired by the ancient Greek term for “without a beginning”. Whereas Geometer considered ways of measuring experience, Anarkhos looks at the opposite: the immeasurable. 

The first show, Fertile Solitude is curated by the exceptional Elizabeth Devlin opens October 14 and takes place at one of my favorite venues in Boston, The Mills Gallery at Boston Center for the Arts. With a floorplan laid out like an intimate hedge maze, its goal is to offer an antidote for an age of a technologically "self-inflicted state of constant connectivity” by creating individual moments of curiosity and contemplation.

The second upcoming show is called In Silhouette. Curated by writer/curator/consultant/powerhouse Kristin Sancken, it will take place at Satellite Art Show in December during Miami Art Week. The show will feature site-specific installations engaging the silhouette, extending the tradition from its original graphic meaning to explore elements such as lighting ratios, spatial awareness, artistic conventions and viewer comprehension. 

Last of all, I’ll be continuing these projects and more at The Studios at Mass MoCA artist-in-residence program in January. I couldn’t be more thrilled to have been selected for this program.  

Fertile Solitude
Curated by Elizabeth Devlin
ARTISTS Piper Brett, Caleb Cole, Emily Eveleth, Dana Filibert, Cig Harvey, Kyle Hittmeier, Annette Lemieux, Megan and Murray McMillan, Noritaka Minami, Hao Ni, Steven Pestana, Shelley Reed, Erin M. Riley and Sarah Wentworth
Mills Gallery at Boston Center for the Arts
October 14–December 18, 2016
Opening Reception Friday, October 14, 6–8pm
539 Tremont St
Boston, MA 02116

In Silhouette
Curated by Kristin Sancken
ARTISTS Julia Colavita, Coke Wisdom O'Neal, Steven Pestana
Satellite Art Show, Room 16
December 1 – December 4, 2016
1510 Collins Ave
Miami Beach, FL 33139

The Epitome Theater @ BRINK v2, curated by John Pyper

Click above to view The Epitome Theater

Click above to view The Epitome Theater

 

 

 

 

 

I'm honored to kick off 2016 with new work created for BRINK v2: Space and Intimacy, curated by John Pyper, at the Mills Gallery, Boston Center for the Arts. BRINK is a bi-annual exhibition series dedicated to introducing emerging artists based in the Northeast. This installment is dedicated to sculpture . . . or not, since each of the six artists included here easily transcend what is traditionally associated with the term. 

My contribution is called The Epitome Theater and is an extension of the themes from October 2015's GEOMETER exhibition at GRIN. Whereas the centerpiece of GEOMETER was a measurer, here the centerpiece is himself being measured (both are life-sized self-portraits). An epitome was an early type of portable atlas, but here refers to both the figure on the table and the ancient notion of microcosm. Inspired by Renaissance anatomical theaters, the recumbent figure rests on a classical dissection table atop stones evocative of an elemental ritual. Beneath, a pile of anthracite suggests that the setting may actually double as a pyre, an alchemical burning from nigredo to albedo to citrinitas. At the figure's feet, a small bronze arch suggests an enshrined culmination of the study of human proportion in the applied arts and their underlying code of geometrical forms. Also included in BRINK are the sister pieces Morning Star and Evening Star

Getting to know curator/writer/artist/all-around inspiring gentleman John Pyper while preparing for this show was a pleasure and a privilege, and I'm tremendously fortunate to share my work alongside the work of five other stellar artists, Johnny AdimandoSamantha FieldsCoe LapossyAJ Liberto and J.R. Uretsky. Additional information on BRINK and it's surrounding events can be found here. A roundtable discussion with the artists will take place on Saturday February 20th, 2016, 3:00-5:00 PM, in addition to performances throughout the run of the show.

You can read more about the exhibition in Cait McQuaid's review for the Boston Globe here. Thank you Cait for the thoughtful article! 

BRINK v2: Space and Intimacy
January 15, 2016-March 26, 2016
Opening Reception Friday January 22nd, 2016 6-8 PM
Mills Gallery at Boston Center for the Arts
539 Tremont St
Boston, MA 02116 

Installation views of Geometer

Click through the images below for a virtual tour of the GEOMETER exhibition. 

Please be patient while the images load.