Dust Stutter
Essex Flowers is pleased to present Dust Stutter, an exhibition of work by
Andres Laracuente and Megan Pahmier.
Dust remains invisible until enough of it accumulates. It both announces and
obscures the place where it gathers, alerts us to the edges of things while
simultaneously softening or clouding them. Likewise the works shown here shift
our attention from their surfaces to their mechanisms of support and their
relations to their immediate surroundings. Both artists have developed
practices that attend very closely to the particular qualities and associations
of their chosen materials, designing encounters that give primacy to tactility
and spatial awareness.
Pahmier's pieces rely on slight movements: extruding a single coil of clay,
allowing moisture to escape the skin, trapping a shallow space under a plexi
box. She describes her approach as "a mode of attention, an engagement with
materiality that is neither practical or instrumental, but concerns itself with
the possibility of being and acting with matter, rather than upon it."
With his recent work Laracuente takes an interest in materials that function
as second skins: clothing, poly packaging and industrial coatings. He refers to
a process of "augmentation or multiplication, creating third skins and
redundancy." By defamiliarizing commonplace objects and exploiting their unique
capabilities, he forefronts the multitude of states related to the cooperation
of inside-outside, surface-substance. In the work "Poly-cooperation Pointed
Areas," the heat sealed lines bind the lightweight poly fiber providing
structural integrity, lending presence to an indistinct material.
In both artists' work, the raw materials on display do their intended jobs - preserving, capturing, linking - and yet remain somehow unaffected. They are spent, but assert their own autonomy by resisting transformation.
Essex Flowers is pleased to present Dust Stutter, an exhibition of work by
Andres Laracuente and Megan Pahmier.
Dust remains invisible until enough of it accumulates. It both announces and
obscures the place where it gathers, alerts us to the edges of things while
simultaneously softening or clouding them. Likewise the works shown here shift
our attention from their surfaces to their mechanisms of support and their
relations to their immediate surroundings. Both artists have developed
practices that attend very closely to the particular qualities and associations
of their chosen materials, designing encounters that give primacy to tactility
and spatial awareness.
Pahmier's pieces rely on slight movements: extruding a single coil of clay,
allowing moisture to escape the skin, trapping a shallow space under a plexi
box. She describes her approach as "a mode of attention, an engagement with
materiality that is neither practical or instrumental, but concerns itself with
the possibility of being and acting with matter, rather than upon it."
With his recent work Laracuente takes an interest in materials that function
as second skins: clothing, poly packaging and industrial coatings. He refers to
a process of "augmentation or multiplication, creating third skins and
redundancy." By defamiliarizing commonplace objects and exploiting their unique
capabilities, he forefronts the multitude of states related to the cooperation
of inside-outside, surface-substance. In the work "Poly-cooperation Pointed
Areas," the heat sealed lines bind the lightweight poly fiber providing
structural integrity, lending presence to an indistinct material.
In both artists' work, the raw materials on display do their intended jobs - preserving, capturing, linking - and yet remain somehow unaffected. They are spent, but assert their own autonomy by resisting transformation.
Artists on show
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