UNTITLED UNIQUE EDITION (NATURAL MATERIALS), Jul 2009
curated by Shamim Momin
Repurposed pegboard fragments from artist’s studio, latex paint, acrylic paint, spray paint, Xerox, linen tape, china marker, graphite, synthetic gold yarn, polyester ribbon, cat hair, acrylic three-ply yarn.
24 x 16 inches
Edition of 50 unique works + 10 unique A.P.
My practice is rooted in the act of navigating experience, fiercely rifling through elements of the visual world in an effort to demand meaning out of the present. Seeking stability within this constantly shifting space, I compensate by manipulating the lens of attention itself, altering perspective on immediate, local surroundings through continual adjustments of focus, aperture, and resolution. Mediation and imposed distance render the local universal, and vice versa. With a degree of urgency, I am looking to find, and to behold, what is important.
The work specifically examines economies of presentation, the mutability and materiality of context, and direct negotiations between image and object in an attempt to diagram the simultaneities embedded at the foundation of experience. Identifying connections between disparate elements, transparency within boundaries, and balance within the uneven terrain of hierarchy, I am devoted to the impossible project of deconstructing totalities by endlessly sifting through their constituent fragments.
This investigation is simultaneously self-diagnostic, as the work continually evolves as a language system. Employing an expanding visual vocabulary with which to directly converse with the hieroglyphic landscape of immediate surroundings results in an ongoing and increasingly complex conversation—which precisely aims to describe the uncanny convergence of these systems, and their inherent structures.
I continually investigate the creative impulse itself, examining the limitations and freedoms imbedded in expression. Integrated references to the site of my own studio practice are consistent in my work, presented in combination with activated elements of an exhibition context. This strategy has resulted in site-sensitive work, in which I integrate and alter existing architectural elements with external structures, images and objects. This method of inclusiveness destabilizes traditional presentation methods, maintaining an insistent connectivity to the complicated external and interior worlds in which the work originates.
Untitled Nothing Factory, Visual Arts Center, University of Texas, Austin, TX
Two Schools of Cool, Orange County Museum of Art, Newport Beach, CA
Not the Way You Remembered, Queens Museum of Art, Queens, NY
How Soon Now, Rubell Family Collection, Miami, FL
Somebody Stop Me, Mitchell Innes & Nash, New York, NY
Project Series 40: Amanda Ross-Ho: The Cheshire Cat Principle, Pomona College Museum of Art, Pomona, CA
Free, New Museum, New York, NY
New Photography 2010, MoMA – Museum of Modern Art, New York, NY
Production Site: The Artist’s Studio Inside and Out, Museum of Contemporary Art, Chicago, IL
Picturing the Studio, School of the Art Institute of Chicago, Chicago, IL
Summer Group Show, Mitchell-Innes and Nash, New York, NY
Abstract America: New Painting and Sculpture, Saatchi Gallery, London, UK
FAX, Contemporary Museum, Baltimore, MD
Make Room, Atlanta Contemporary Art Center, Atlanta, GA
2008 California Biennial, Orange County Museum of Art, Newport Beach, CA
Conceptualism in California, Permanent Collection, Museum of Contemporary Art, Los Angeles, CA
Whitney Biennial, Whitney Museum of American Art, New York, NY
Uncovered Chicago, Museum of Contemporary Art, Chicago, IL
Significant/Signifiers, Ukranian Institute of Modern Art, Chicago, IL