ARTISTS
Timo Fahler: Hope Against Hope
Through an exacting practice of slicing, grinding, placing, and soldering, Timo Fahler pieces together historical, mythological, and personal stories. In hope against hope, Fahler specifically draws from pre-Columbian Mesoamerican imagery as source material for his stained-glass sculptures.
Stained-glass is a medium of time. It calls for patience from an artist; in shaping the glass, Fahler coaxes out a gentleness from that which is sharp. The medium exists in a constant state of metamorphosis; its vibrancy, depth, and reflection undulate following the sun鈥檚 course each day. In hope against hope, Fahler poses a stereoscopic intervention. In lieu of two-dimensional window works, his stained-glass sculptures project from the wall. On the windowed corner of Henry and Pike Streets, visitors look through a window, at stained-glass.
Taken in crystallized aggregate, Fahler鈥檚 new body of work embraces anachronism to highlight affinities between his own Mexican heritage, Mesoamerican history, and our broader sociopolitical landscape. In hoping against hope, Fahler invites us to join him in indulging a radical, mosaicked optimism.
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Through an exacting practice of slicing, grinding, placing, and soldering, Timo Fahler pieces together historical, mythological, and personal stories. In hope against hope, Fahler specifically draws from pre-Columbian Mesoamerican imagery as source material for his stained-glass sculptures.
Stained-glass is a medium of time. It calls for patience from an artist; in shaping the glass, Fahler coaxes out a gentleness from that which is sharp. The medium exists in a constant state of metamorphosis; its vibrancy, depth, and reflection undulate following the sun鈥檚 course each day. In hope against hope, Fahler poses a stereoscopic intervention. In lieu of two-dimensional window works, his stained-glass sculptures project from the wall. On the windowed corner of Henry and Pike Streets, visitors look through a window, at stained-glass.
Taken in crystallized aggregate, Fahler鈥檚 new body of work embraces anachronism to highlight affinities between his own Mexican heritage, Mesoamerican history, and our broader sociopolitical landscape. In hoping against hope, Fahler invites us to join him in indulging a radical, mosaicked optimism.
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In 鈥渉ope against hope,鈥� on view at 56 Henry in New York City through January 29th, Timo Fahler uses stained glass to investigate both the affordances and the limitations of personal and cultural myth.
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