ARTISTS
KC Crow Maddux: Finger Trap
High Noon is pleased to present KC Crow Maddux鈥檚 New York solo debut, Finger Trap. Maddux鈥檚 multimedia work centers around abstracted photos of his own nonbinary, transgender body, presented as photo gel transfers suspended in resin. The augmented photographs are surrounded by structures both organic and architectural which support, interact with, and extend the image, creating an idiosyncratic ecosystem that explores power dynamics, perceptual categorization, and the friction between the self and the social.
Whether hanging on a wall or freestanding, Maddux regards the sculptural elements as a 鈥渇rame,鈥� referring to both an enclosing border and something that helps shape meaning. By positioning the work this way, he removes the hierarchical dynamic between 鈥減icture鈥� and 鈥渇rame鈥� and disrupts the expectation of the rectangular format, creating space for a trans-format where the boundaries of modality are blurred. In Arms Race and The Germ, the frames take on a fantastical, almost animated sensibility, imbued with their own otherworldly tactility in the glossy, flocked, or chrome surfaces. They are comical superstructures in concert with the body.
This conversational element is also a consistent presence in the work as a narrative interaction between dualities. In Valentine, the only free-standing sculpture in the exhibition, a tower-like form is bisected by the silhouette of an invented, organic interiority. While straddling the form, the interior cutout also completes a base that solidifies the sculpture鈥檚 stance. Like Keith Haring鈥檚 Boxers (1987-1988), struggle in the work is not formatted as trauma, but as resistance. Both conflict and resolution are simultaneously present, and a drama is created that is contingent upon this endangered balance.
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High Noon is pleased to present KC Crow Maddux鈥檚 New York solo debut, Finger Trap. Maddux鈥檚 multimedia work centers around abstracted photos of his own nonbinary, transgender body, presented as photo gel transfers suspended in resin. The augmented photographs are surrounded by structures both organic and architectural which support, interact with, and extend the image, creating an idiosyncratic ecosystem that explores power dynamics, perceptual categorization, and the friction between the self and the social.
Whether hanging on a wall or freestanding, Maddux regards the sculptural elements as a 鈥渇rame,鈥� referring to both an enclosing border and something that helps shape meaning. By positioning the work this way, he removes the hierarchical dynamic between 鈥減icture鈥� and 鈥渇rame鈥� and disrupts the expectation of the rectangular format, creating space for a trans-format where the boundaries of modality are blurred. In Arms Race and The Germ, the frames take on a fantastical, almost animated sensibility, imbued with their own otherworldly tactility in the glossy, flocked, or chrome surfaces. They are comical superstructures in concert with the body.
This conversational element is also a consistent presence in the work as a narrative interaction between dualities. In Valentine, the only free-standing sculpture in the exhibition, a tower-like form is bisected by the silhouette of an invented, organic interiority. While straddling the form, the interior cutout also completes a base that solidifies the sculpture鈥檚 stance. Like Keith Haring鈥檚 Boxers (1987-1988), struggle in the work is not formatted as trauma, but as resistance. Both conflict and resolution are simultaneously present, and a drama is created that is contingent upon this endangered balance.
Artists on show
