Erik Frydenborg: Gated Snare
The Pit is pleased to present Gated Snare, an installation of new work by Erik Frydenborg. Gated Snare finds its tone in the ambient regression of the current American moment. As appeals to remake bygone days trap us in recursive loops, we witness the distorting effects of time on our stored memories鈥攃ompressed, edited, and overwritten data that gradually calcify into implausible totems. If memory makes experience into collage, then attempts to resuscitate memory anew are invitations to heavier, glitchier constructions.
Frydenborg鈥檚 sculptures are analogous, converting source collages of minced visual aids into dimensional, vaguely devotional statuary. Revisiting the swamp of his own memory, Frydenborg here explicitly invokes the Xerox paste-up culture that informed his early formal impulses.
The re-emergence of collage in underground music graphics during the 1980s of Frydenborg鈥檚 childhood marked the resurrection of Dada from its avant-garde mausoleum into a new, living strain of Folk Art. At the 20th century鈥檚 end, Frankenstein patchworks of postindustrial imagery became standard vernacular expressions of technophobia, political disillusionment, and corporate repulsion. Frydenborg鈥檚 sculptures call back to the guileless spirit of this popularized dissent.
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The Pit is pleased to present Gated Snare, an installation of new work by Erik Frydenborg. Gated Snare finds its tone in the ambient regression of the current American moment. As appeals to remake bygone days trap us in recursive loops, we witness the distorting effects of time on our stored memories鈥攃ompressed, edited, and overwritten data that gradually calcify into implausible totems. If memory makes experience into collage, then attempts to resuscitate memory anew are invitations to heavier, glitchier constructions.
Frydenborg鈥檚 sculptures are analogous, converting source collages of minced visual aids into dimensional, vaguely devotional statuary. Revisiting the swamp of his own memory, Frydenborg here explicitly invokes the Xerox paste-up culture that informed his early formal impulses.
The re-emergence of collage in underground music graphics during the 1980s of Frydenborg鈥檚 childhood marked the resurrection of Dada from its avant-garde mausoleum into a new, living strain of Folk Art. At the 20th century鈥檚 end, Frankenstein patchworks of postindustrial imagery became standard vernacular expressions of technophobia, political disillusionment, and corporate repulsion. Frydenborg鈥檚 sculptures call back to the guileless spirit of this popularized dissent.
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