ARTISTS
Peter Hutchinson: The Language of Nature
Freight+Volume is pleased to present THE LANGUAGE OF NATURE, an exhibition of new collages and constructions by Peter Hutchinson, the artist鈥檚 fourth solo show with the gallery.
Hutchinson鈥檚 fresh and imaginative photo collages utilize found images that weave a lively and engaging story by incorporating a love of travel with his long-standing ecological philosophy. The results mark the passage of time in nature through manipulation combined with excerpts from reality.
Along with his earthwork contemporaries Oppenheim, Smithson, Heizer, and Goldsworthy, Hutchinson helped move the focus of the art world from high-strung minimalism to stimulating conceptualism. What distinguishes Hutchinson from his peers is that, rather than focusing on grand intervention, he instead engaged with the complications inherent in simple mathematical structures as they moved away from the flat canvas and into the sculptural. He also rejected many of the conceptualist practices soon to be popularized by his peers, and, true to his British roots, chose a more romantic, overtly poetic, and nature-oriented path, as evidenced by his work concerning the humor of the natural world and landscape鈥檚 orientation.
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Freight+Volume is pleased to present THE LANGUAGE OF NATURE, an exhibition of new collages and constructions by Peter Hutchinson, the artist鈥檚 fourth solo show with the gallery.
Hutchinson鈥檚 fresh and imaginative photo collages utilize found images that weave a lively and engaging story by incorporating a love of travel with his long-standing ecological philosophy. The results mark the passage of time in nature through manipulation combined with excerpts from reality.
Along with his earthwork contemporaries Oppenheim, Smithson, Heizer, and Goldsworthy, Hutchinson helped move the focus of the art world from high-strung minimalism to stimulating conceptualism. What distinguishes Hutchinson from his peers is that, rather than focusing on grand intervention, he instead engaged with the complications inherent in simple mathematical structures as they moved away from the flat canvas and into the sculptural. He also rejected many of the conceptualist practices soon to be popularized by his peers, and, true to his British roots, chose a more romantic, overtly poetic, and nature-oriented path, as evidenced by his work concerning the humor of the natural world and landscape鈥檚 orientation.
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